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Director: Kerstin Karlhuber
Genre: Drama, TV Movie
Studio: Trick Candle Productions

A young man returns to his family farm, after a long stay in ex-gay conversion therapy, and is torn between the expectations of his emotionally distant father, and the memories of a past, loving relationship he has tried to bury.
Director: Stuart Perelmuter
Genre: Comedy
Studio: Alluvial Filmworks
Rated: Unrated

A hilarious parody about a young man coming to terms with his heterosexuality in a seemingly gay world…
After graduating from high school, best friends David and Eric leave their small town in Kansas and head for the big city of Louisville, Kentucky. The two move in with David's aunt where they spend their days landscaping Aunt Collette's yard and their evenings acting in an all-male community theatre production of "The Importance of Singing Earnest".
David begins struggling to accept that all his new friends are gay; his strife is further complicated when Eric comes out of the closed by admitting his crush on the costume designer, Brenton. Suddenly, David is caught in a circle where heterosexuality is not the norm and is further confused by complications he experiences with the show’s stage manager and his female love interest, Lauren. Coupled with a freakish homoerotic nightmare, David decides that he too must be gay. A whirl-about movie of non-stop fun where David tries to learn that it’s okay to be "straight."
Director: Gregory Hoblit
Genre: Drama
Studio: Turner Home Ent
Rated: R

Although it received mixed reactions from critics and audiences alike when released in 1998, this supernatural thriller benefits from a sustained atmosphere of anticipation and dread, and its combination of detective mystery and demonic mischief is handled with ample style and intelligence. Under the direction of Gregory Hoblit (who fared better with "Primal Fear"), Denzel Washington plays detective John Hobbes, who witnesses the gas-chamber execution of a serial killer (Elias Koteas). But when another series of murders begins, Hobbes suspects that the killer's evil spirit has survived and is possessing the bodies of others to do its evil bidding. Even Hobbes's trusted partner (John Goodman) thinks the detective is losing his grip on reality, but the dire warnings of a noted linguist (Embeth Davidtz) confirm Hobbes's far-out theory, and his case intensifies toward a fateful showdown. Although its idea is better than its execution, and the story's "film noir" ambitions are never fully accomplished, this slickly directed thriller has some genuinely effective moments in which evil forces are entwined into the fabric of everyday reality. Among the highlights is a memorable scene in which Detective Hobbes must track the killer as the evil spirit is transferred between many people via physical contact. Even if the film is ultimately less than the sum of its parts, it's an intriguing hybrid that resides in the same cinematic neighborhood as "Seven" and "The Silence of the Lambs" with a cast that also includes Donald Sutherland and James Gandolfini. Included on the DVD is a full-length audio commentary by director Hoblit, screenwriter Nicholas Kazan, and producer Charles Roven. "--Jeff Shannon"
Director: Jon Garcia
Genre: Drama
Studio: Lake Productions
Rated: NR

Director: Kevin Tancharoen
Genre: Comedy, Drama, Family, Musical, Romance
Studio: Lakeshore Entertainment
Rated: PG

Studio: 20th Century Fox
Rated: R

Academy Award r Winners Robert De Niro and Tommy Lee Jones star in this dark actioncomedy from executive producer Martin Scorsese and acclaimed director Luc Besson. A Mafia boss and his family are relocated to a sleepy town in France under the Witness Protection Program after snitching on the mob. Despite Agent Stansfield's (Jones) best efforts to keep them in line, Fred Blake (Robert De Niro), his wife Maggie (Michelle Pfeiffer), and their children Belle (Dianna Agron) and Warren (John D'Leo), can't help resorting to old habits by handling their problems the 'family' way. Chaos ensues as their former Mafia cronies try to track them down, and scores are settled in the unlikeliest of settings.
Director: Peter Shin, Pete Michels
Genre: Comedy
Studio: 20th Century Fox
Rated: NR

For "Family Guy" fans, there are no freakin' sweeter words than "Never Before Seen." A triumphant homecoming for the Griffins, "Stewie Griffin" is not so much a movie as it is a not-yet-aired three-episode story arc enhanced with a home-video-exclusive "red carpet premiere" prologue and an epilogue (capped, of course, with a fart joke). "Family Guy's" resurrection is a television miracle, and its creators have rewarded the faithful by picking up right where they left off, offending any and all sensibilities (recasting Jesus as comic magician Art Metrano), dissing the celebrity disenfranchised (Ellen Cleghorne references, anyone?), and generally taking potshots at anyone on their enemies list (Stewie breaks the neck of a reporter for "Entertainment Weekly", the magazine that once called "Family Guy" "the Awful Show They Just Keep Putting on the Air"). "The Untold Story! " is a star vehicle for "Family Guy" 's breakout character, in which the mega maniacal and matricidal infant has a Grinch-like change of heart after a near-death experience (and a disturbing encounter with Steve Allen in Hell) and, more life-altering, discovers a football-pated man who could be his father (the truth is more shocking!). As go the gags, so goes "Family Guy", and there are enough good ones here to compensate for the many misfires. The Miller-esque (as in Dennis) penchant for channeling arcane pop culture can grow tiresome. But for those who do remember the words to the "Who's the Boss" theme song, know (or still care) who Steve Bartman is, and are always up for "a sexy party," this will be the greatest story ever untold. "--Donald Liebenson"

Stills from "Family Guy Presents Stewie Griffin - The Untold Story " (click for larger image)




















Director: Kyle Newman
Studio: Weinstein Company
Rated: PG-13

Get ready for the comedy adventure that’s “smart, funny, and tailor-made for the inner-Jedi in all of us” (Pete Hammond, Hollywood.com). In 1998, four childhood buddies with a shared love of all things Star Wars reunite for one final, hilarious odyssey. Their insane plan: a cross-country road trip to storm George Lucas’ Skywalker Ranch and steal a copy of Episode I before it’s released. With the police, a crew of angry Trekkies, and a crazy pimp hot on their trail, what could possibly go wrong? Featuring Dan Fogler (Balls of Fury), Jay Baruchel (Tropic Thunder), and Kristen Bell (Forgetting Sarah Marshall), plus a slew of hysterical surprise cameos, “the Force IS strong with this one!” (Brian Gallagher, MovieWeb)

Stills from Fanboys (Click for larger image)
Director: David Yates
Genre: Adventure, Family, Fantasy
Studio: Heyday Films
Rated: PG-13

Holding a mysterious leather suitcase in his hand, Newt Scamander, a young activist wizard from England, visits New York while he is on his way to Arizona. Inside his expanding suitcase hides a wide array of diverse, magical creatures that exist among us, ranging from tiny, twig-like ones, to majestic and humongous ones. It is the middle of the 20s and times are troubled since the already fragile equilibrium of secrecy between the unseen world of wizards and the ordinary or "No-Maj" people that the MACUSA Congress struggles to maintain, is at risk of being unsettled. In the meantime, the voices against wizardry keep growing with daily protests led by Mary Lou Barebone and fuelled by the increasing disasters ascribed to a dark wizard, Gellert Grindelwald. At the same time, by a twist of fate, Newt's precious suitcase will be switched with the identical one of an aspiring No-Maj baker, Jacob Kowalski, while demoted Auror, Tina Goldstein, arrests Newt for being an unregistered wizard. To...
Director: Everett Lewis, Joe Lia
Genre: Comedy
Studio: Tla
Rated: NR

From Everett Lewis (Luster, Natural History of Parking Lots) comes a drama celebrating queer activism in the 21st century, where intolerance still prevails and prejudice can be found everywhere. Destiny (Allan Louis), a vigilante drag queen takes in India (Joe Lia), a homeless teenage runaway, after saving him from a queer bashing. Together with her other ‘rainbow child,’ a boyish lesbian named Lester (Minera Vier), the three live together in an unconventional but fully functioning ‘queer family.’ Will India find true love or forever be a ‘cute one night stand’? Will Lester find a girlfriend and shave her legs and will Destiny find herself a man? Anything can happen and in FAQS everything does happen in a very short space of time, as our queer musketeers free themselves from the homophobic bonds of an oppressive society.
Director: Ethan Coen, Joel Coen
Genre: Drama
Studio: MGM (Video & DVD)
Rated: R

Leave it to the wildly inventive Coen brothers (Joel directs, Ethan produces, they both write) to concoct a fiendishly clever kidnap caper that's simultaneously a comedy of errors, a Midwestern satire, a taut suspense thriller, and a violent tale of criminal misfortune. It all begins when a hapless car salesman (played to perfection by William H. Macy) ineptly orchestrates the kidnapping of his own wife. The plan goes horribly awry in the hands of bumbling bad guys Steve Buscemi and Peter Stormare (one of them being described by a local girl as "kinda funny lookin'" and "not circumcised"), and the pregnant sheriff of Brainerd, Minnesota (played exquisitely by Frances McDormand in an Oscar-winning role) is suddenly faced with a case of multiple murders. Her investigation is laced with offbeat observations about life in the rural hinterland of Minnesota and North Dakota, and "Fargo" embraces its local yokels with affectionate humor. At times shocking and hilarious, "Fargo" is utterly unique and distinctly American, bearing the unmistakable stamp of its inspired creators. "--Jeff Shannon"
Director: Mark Lee, James Davis, Brian Green, Fitch Slame, Peter Lord
Studio: 3D-MEDIA.tv

FASCINATION EARTH 3D - OUR WONDERFUL PLANET takes you to the most magnificent places in the world. These films, shot in real 3D, portray our world as never seen before, from breathtaking scenery through impressive marine footage to the most beautiful and most dangerous animals on our planet. Follow us and you will never forget this unique experience. This movies are made by a REAL 3D method you can play and watch it in 3D and also in FULL HD. 5 Blu rays for 1 amazing Price !
Director: James Kent
Genre: Documentary
Studio: Winstar
Rated: NR

The story of Gianni Versace is a story of the late twentieth century's obsession with greed, fame, celebrity and glamour. Here we encounter a self styled emperor, Gianni, and his nemesis, Andrew Cunanan, a psychotic product of a decadent American dream, waiting in the wings for the dramatic final act: a Mafia style execution on the steps of Versace's Xanadu palace in Miami. This film juxtaposes the rise of a fashion giant from the glamorous world of Paris fashion to the drug-ridden underworld of gay America and a murder that should never have happened. Antonio D'Amico, Versace's long term lover, and Lazaro Quintana, another close friend, speak for the first time, disclosing an intimate side to Versace's omnipotent personality. Also included is Pete Cunanan, the murderer's father, who is tracked down in the Philippines and provides a key to his son's split personality.
Director: Lajos Koltai
Genre: Art House & International
Studio: Velocity / Thinkfilm
Rated: R

Don't miss this unforgettable story of a child who had the courage to come home.
Set in 1944, as Hitler's Final Solution becomes policy throughout Europe, Fateless is the semi-autobiographical tale of a 14 year-old Jewish boy from Budapest, who finds himself swept up by cataclysmic events beyond his comprehension. A perfectly normal metropolitan teen who has never felt particularly connected to his religion, he is suddenly separated from his family as part of the rushed and random deportation of his city's large Jewish population. Brought to a concentration camp, his existence becomes a surreal adventure in adversity and adaptation, and he is never quite sure if he is the victim of his captors, or of an absurd destiny that metes out salvation and suffering arbitrarily. When he returns home after the liberation, he missed the sense of community he experienced in the camps, feeling alienated from both his Christian neighbors who turned a blind eye to his fate, and the Jewish family friends who avoided deportation and who now want to put the war behind them.
Director: Josh Boone
Studio: 20th Century Fox Home Entertainment
Rated: Unrated

Two discs
Extended + Theatrical Versions
Infinity Bracelet Gift with Purchase
32 minutes of content
(Six promotional featurettes, six deleted scenes, The Stars Align: Book to screen)
Director: Hal Hartley
Genre: Drama
Studio: Magnolia
Rated: Unrated

"Fay Grim" is Hal Hartley's version of the espionage thriller. Consequently, it's more peculiar than pulse-pounding, but that's what makes his films appealing--to those who appreciate their off-kilter rhythms, that is. In Hartley's world, dialogue is often delivered with a straight face, no matter how funny the line or farcical the situation. In "Fay Grim", he picks up seven years after "Henry Fool" left off, but this time the writer/director shifts focus from novelist Henry (Thomas Jay Ryan) to his seemingly scattered wife, Fay (Parker Posey). Their son, Ned (Liam Aiken), is now in his teens, but Henry remains at large, and Fay's "garbage man poet" brother, Simon (James Urbaniak), remains in prison for aiding in his escape. Then two CIA operatives, Fulbright (Jeff Goldblum) and Fogg (Leo Fitzpatrick), inform her that Henry is dead, so Fay agrees to track down his complete set of diaries in exchange for Simon's freedom. Apparently, Henry's incoherent ramblings contain state secrets. Joining forces with stewardess Bebe (Elina Löwensohn), Fay travels from Queens to Paris to Istanbul to fulfill her mission. In the end, "Fay Grim" resembles Hartley's noir parody "Amateur", which featured Löwensohn, more than "Henry Fool". It has less to say about talent and celebrity and more about mystery and intrigue. For the filmmaker, it also represents an opportunity to reunite a strong ensemble and to recover, at least for the time being, from a string of disappointments, like "No Such Thing" and "The Girl From Monday". "--Kathleen C. Fennessy"
Director: William Malone
Genre: Horror
Studio: Warner Home Video
Rated: R

"Fear Dot Com" is a total-dot-mess, but it's a stylishly graphic frightfest that horror buffs will probably appreciate. As he did with his 1999 remake of "House on Haunted Hill", director William Malone favors trippy atmosphere at the expense of acting, character development, and plot. Belatedly jumping on the Internet-thriller bandwagon, the film follows a brooding detective (Stephen Dorff) and a public health inspector (Natascha McElhone) as they investigate the deadly influence of the titular Web site, which channels the innermost fears of its visitors until they die of fright 48 hours later. Why 48 hours? Don't ask; Josephine Coyle's screenplay is as incoherent as Malone's grasp of narrative momentum, leaving Dorff and McElhone with little to do but look frightened and doomed. But "Fear Dot Com" has its moments, especially after mad doctor Stephen Rea's gruesome villainy is fully revealed, and the proceedings take on the monochrome pallor of silent German expressionism. Too bad these fantastic visuals weren't servicing a better movie. "--Jeff Shannon"
Director: Frank LaLoggia
Genre: Horror
Studio: Anchor Bay
Rated: R

If all comedies were as funny as this "horror" movie then the world would be a happier place. I went into this thinking that it was going to be a serious retelling of THE OMEN instead I ended up laughing until I cried on 3 occasions and screaming in horror as male nudity flashed on the screen unannounced repeatedly. This movie is a classic!

According to the story as best as I could follow it Satan is constantly reborn into human form and this time he's been reborn into an extremely effeminate acting high school boy who seems to have a interest in females but at the same time acts like Jim Jay Bullock's gayer brother including a wild all nude kissing scene in the boy's shower! Package close-up included!

Homo-erotic undertones aside FEAR NO EVIL is pretty quick paced and nutty as all get out. I loved the scene where the father finds his missing wife in a hidden room (she's covered in cobwebs) so for some reason he shoots her in the head and she literally flies out of her wheelchair and goes face first (!) out the window! Oh I was howling!

Watch it with some friends.

Soundtrack includes The Sex Pistols, The Ramones, The B-52's and two songs by The Talking Heads!

Director: K.C. Bascombe
Genre: Horror
Studio: Universal Studios
Rated: PG-13

Although this is not a true horror flick or slasher flick, it was good for being rated only PG-13. I've gotten into the habit of not renting PG-13 movies because I love the gore and violence and terror of true horror movies that are rated R. However, I rented this movie because the box made it look scary. There are some suspenseful scenes in this movie as we see a young boy who is terrified of the dark.No one understands his fears, even his parents. One night, while the parents went out, the young boy was left home with his older brother. Well, here comes a storm and the lights go out. We get to see monsters/ghosts appear during some pretty good lightning scenes. Without going on and on about the details, I'd just say that I'd recommend renting this film. I was pleasantly surprised for a PG-13 rating movie.
Director: Teo Konuralp
Genre: Mystery & Suspense
Studio: Mti Home Video
Rated: NR

I caught this late one night on Showtime and was really captivated. The plot line is very simple as are the sets, the characters, and the production of the movie itself. The actors are all no-names and some of the acting shows it. But overall the acting is transparent enough not to interfere with the characters themselves. The music is high-energy techno and all original it seems.

As the other reviewers said, the movie is about a phone that can dial up to 6 hours into the past (the past only) allowing the phone caller to change past, current, and future events. It does this because its creators discovered all time occurs at once, essentially now. Now is the present is the future is the past, etc., etc. All time is now. It's a great premise and allows the director much freedom.

Since there is no actual physical time travel, the movie avoids the usual pitfalls of films of this genre - transporting into time into a rock, let's say; transporting back or forward and meeting yourself; or what exactly would a time machine look like and how would you control it? The phone simply allows you to place a phone call to any time you desire within the previous 6 hours. The one thing you supposedly cannot do, we are warned, is call yourself. That would create a feedback loop (hence the name of the film) . With this description of the nature of time, the film presents a new, refreshing take on time travel.

The movie starts with one of the 3 main characters having discovered the phone. From there he and his friends try to profit from the phone by changing the past after they know the outcome. It's clever and the way the film develops from each of these attempts to alter the past is handled well.

The film is dark and fairly violent. The main characters have skeletons in the closet and unsavory people from their past, both of which come back to haunt them. Also, people literally kill to get this phone. The main characters all get killed at least once. To be fair, this phone gives the owner massive power, so perhaps the degree of violence in the director's vision is warranted. Most people probably won't find the violence offensive, but I think it is sufficiently apparent to point out.

My objections to the violence notwithstanding, the movie is clever enough that, in the end, perhaps the killing actually doesn't even occur! Say what? I mean, if they kill to get the phone back, then call back into time to prevent the person they killed from ever getting the phone in the first place, they would never have to kill the person since they would prevent the person from ever getting the phone. Right?!? Herein lies the beauty of this movie. It is very simple, very open-ended, and very believable. In fact, you'll probably need to watch it a few times to fully piece it together. Even after many viewings you still don't know what truly happens in the end.

I think a slightly less dark vision, while keeping the suspense, could have made the movie better. But I still highly recommend this film for its novel approach to an age-old idea and its refreshing, well-written script.
Director: Zi'en Cui
Genre: Art House & International
Studio: Water Bearer Films, Inc


The land of the Sleeping Dragon has been given license to make movies. This particular film has made the circuit and has been touted by many as Avante guard. The director Cul Zi en has crafted his film to promote cinematic interest and mounting international concern for one of China's fastest growing problems, male prostitution. The film itself is, by western standards, ill conceived and poorly constructed. Furthermore, it proves an ill woven tapestry of minor characters, spectral images, philosophical dialogs and a tangled message which has viewers wondering, if they are in the wrong theater. Lacing a shadowy musical composer who's role and purpose is never fully explained, with that of an elder brother, who's role is equally sketchy at best is confusing enough. His aim is? To save his younger brother from the brutal streets of Bejing. What little is understood of Cul Zi en's message is clear if one is on medication, but the options of a boy prostitutes in any country is doubtful at best. Sandwiched between overt poverty, harsh imprisonment, armies of religious zealots and the mounting problems of a ambivalent nation, prostitution, like any vice, becomes morally offensive, but a necessary evil. The film, like it's message, is destined for the shelves in the library of humanity. *

Director: Peter Jackson
Genre: Action & Adventure
Studio: New Line Home Entertainment
Rated: PG-13

In every aspect, the extended-edition DVD of Peter Jackson's epic fantasy "The Lord of the Rings: The Fellowship of the Ring" blows away the theatrical-version DVD. No one who cares at all about the film should ever need to watch the original version again. Well, maybe the impatient and the squeamish will still prefer the theatrical version, because the extended edition makes a long film 30 minutes longer and there's a bit more violence (though both versions are rated PG-13). But the changes--sometimes whole scenes, sometimes merely a few seconds--make for a richer film. There's more of the spirit of J.R.R. Tolkien, embodied in more songs and a longer opening focusing on Hobbiton. There's more character development, and more background into what is to come in the two subsequent films, such as Galadriel's gifts to the Fellowship and Aragorn's burden of lineage. And some additions make more sense to the plot, or are merely worth seeing, such as the wood elves leaving Middle-earth or the view of Caras Galadhon (but sorry, there's still no Tom Bombadil). Extremely useful are the chapter menus that indicate which scenes are new or extended.
Of the "four" commentary tracks, the ones with the greatest general appeal are the one by Jackson and cowriters Fran Walsh and Philippa Boyens, and the one by 10 cast members, but the more technically oriented commentaries by the creative and production staff are also worth hearing. The bonus features (encompassing two complete DVDs) are far superior to the largely promotional materials included on the theatrical release, delving into such matters as script development, casting, and visual effects. The only drawback is that the film is now spread over two discs, with a somewhat abrupt break following the council at Rivendell, due to the storage capacity required for the longer running time, the added DTS ES 6.1 audio, and the commentary tracks. But that's a minor inconvenience. Whether in this four-disc set or in the collector's gift set (which adds Argonath bookends and a DVD of "National Geographic Beyond the Movie: The Lord of the Rings: The Fellowship of the Ring"), the extended-edition DVD is the "Fellowship" DVD to rule them all. "--David Horiuchi"
Director: Peter Jackson
Genre: Action & Adventure
Studio: New Line Home Video
Rated: PG-13

As the triumphant start of a trilogy, "The Lord of the Rings: The Fellowship of the Ring" leaves you begging for more. By necessity, Peter Jackson's ambitious epic compresses J.R.R. Tolkien's classic "The Lord of the Rings", but this robust adaptation maintains reverent allegiance to Tolkien's creation, instantly qualifying as one of the greatest fantasy films ever made. At 178 minutes, it's long enough to establish the myriad inhabitants of Middle-earth, the legendary Rings of Power, and the fellowship of hobbits, elves, dwarves, and humans--led by the wizard Gandalf (Ian McKellen) and the brave hobbit Frodo (Elijah Wood)--who must battle terrifying forces of evil on their perilous journey to destroy the One Ring in the land of Mordor. Superbly paced, the film is both epic and intimate, offering astonishing special effects and production design while emphasizing the emotional intensity of Frodo's adventure. Ending on a perfect note of heroic loyalty and rich anticipation, this wondrous fantasy continues in "The Two Towers" (2002). "--Jeff Shannon"
Director: David Ray
Genre: Drama, Fantasy, Romance, TV Movie
Studio: Cheap and Dirty Productions Inc.
Rated: See all certifications

Art, a drug-addicted dealer and hustler, arrives at his girlfriend Cody's apartment to find that she has overdosed on heroin. He tries to fix things by traveling back in time in an attempt to prevent her death.
Director: Rafe M. Portilo
Genre: Horror
Studio: Madacy Records
Rated: Unrated

FEVER LAKE is tedious, derivative, full of plot holes and inconsistencies. Corey Haim, the glory boy of the 80s, tries playing a college freshman, and even though he still looks pretty young, he doesn't look young enough to be that. Add Bo Hopkins as the local sheriff, looking dyspeptic to say the least and Michael Wise as a demon spouting Indian, you have the first inclination of the movie's problems. IN the opening scene, a father chops up his wife, and looks up at his son who has been hidden in the attic and says "You're cursed..just like me." Then his eyes glow green and that's it for that segment. Segue into the present day (although one has to wonder; the opening sequence looks like it was in the 40s; if that was the case, the little boy would be at least in his fifties by now). Anyway, Corey has invited five of his friends to join him at where else, Fever Lake, for a weekend getaway. Of course, the townspeople don't cotton to strangers so they immediately suspect the kids of something, although the local teen waitress tells them the gory history of Fever Lake, which is reinforced by the local fish bait store manager. If you listen to his tales, you will find that the script doesn't stick to the stories; for instance, there's no little boy this time. Well, the evil finally gets released from the lake and the kids find themselves hacked up....if you can't figure out who the killer is, you haven't watched enough slasher films.
This wouldn't be so bad, but the acting is abysmmal, the direction shoddy, and the background music altogether annoying and inappropriate.
FEVER LAKE will go on Mr. haim's resume as another attempt to recapture the youth of the 80s.
Director: David Fincher
Genre: Action & Adventure
Studio: 20th Century Fox
Rated: R

All films take a certain suspension of disbelief. "Fight Club" takes perhaps more than others, but if you're willing to let yourself get caught up in the anarchy, this film, based on the novel by Chuck Palahniuk, is a modern-day morality play warning of the decay of society. Edward Norton is the unnamed protagonist, a man going through life on cruise control, feeling nothing. To fill his hours, he begins attending support groups and 12-step meetings. True, he isn't actually afflicted with the problems, but he finds solace in the groups. This is destroyed, however, when he meets Marla (Helena Bonham Carter), also faking her way through groups. Spiraling back into insomnia, Norton finds his life is changed once again, by a chance encounter with Tyler Durden (Brad Pitt), whose forthright style and no-nonsense way of taking what he wants appeal to our narrator. Tyler and the protagonist find a new way to feel release: they fight. They fight each other, and then as others are attracted to their ways, they fight the men who come to join their newly formed Fight Club. Marla begins a destructive affair with Tyler, and things fly out of control, as Fight Club grows into a nationwide fascist group that escapes the protagonist's control.
"Fight Club", directed by David Fincher ("Seven"), is not for the faint of heart; the violence is no holds barred. But the film is captivating and beautifully shot, with some thought-provoking ideas. Pitt and Norton are an unbeatable duo, and the film has some surprisingly humorous moments. The film leaves you with a sense of profound discomfort and a desire to see it again, if for no other reason than to just to take it all in. "--Jenny Brown"
Director: Paul McGuigan
Genre: Biography, Drama, Romance
Studio: Eon Productions
Rated: R

Real life proves just as dramatic off-screen as it does on it for these two actors, the aging Hollywood superstar Gloria Grahame and her younger lover, Peter Turner. As their mismatched romance waxes and wanes over time, events conspire to keep them in each other's lives even when it proves difficult and demanding. Ultimately, they find that they must each come to terms with whatever fate they face in the future whether they are together or apart.
Director: James Wong (IV)
Genre: Drama
Studio: New Line Home Video
Rated: R

While hardly a spiritual upgrade of the slasher film, this high-concept teen body-count thriller drops hints of "The Sixth Sense" into the smart-aleck sensibility of "Scream". Helmed by "X-Files" veteran James Wong, who cowrote the screenplay with longtime creative partner Glen Morgan, "Final Destination" is an often entertaining thriller marked by an unsettling sense of unease and scenes of eerie imagery. It suffers, however, from a schizophrenic tone and a frankly ludicrous premise. A high school Cassandra, Alex Browning (Devon Sawa of "Idle Hands"), wakes from a preflight nightmare and panics when he's convinced the plane is doomed. His ruckus bumps seven passengers from the Paris-bound plane, which immediately explodes into a fireball on takeoff, but fate hasn't finished with these lucky few and, one by one, death claims them. Wong brings such a funereal tone to these early scenes of survivor's guilt and inevitable doom that the already far-fetched film threatens to veer into unplanned absurdity. Thankfully, the tale loosens up with a playful morgue humor: one of the victims winds up the splattered punch line to a grim joke and elaborate Rube Goldbergesque chains of cause and effect become inspired spectacles of destruction. "Final Destination" is a pretty silly thriller when it takes itself seriously, and the filmmakers play fast and loose with their own rules of fate, but once they stick their tongues firmly in cheek, the film takes off with a screwy interpretation of the domino effect of doom. "--Sean Axmaker"
Director: David R. Ellis
Genre: Horror
Studio: New Line Home Entertainment
Rated: R

"Final Destination 2" begins with a well-orchestrated multicar pileup on a freeway--a horrifying accident that turns out to be a premonition, as seen by a young woman (A.J. Cook) who saves herself and several other people by blocking a freeway on-ramp. Thus, as in the first "Final Destination", a prescient vision disrupts the destined plans of death, and death goes to extreme lengths to correct matters. What makes "Final Destination 2" entertaining is that the characters can only survive by learning to recognize the signs of impending doom--and the signs are basically the cinematic foreshadowing that moviemakers use to invoke suspense. This, combined with some elaborately complicated and gruesome deaths, fosters a ghoulish humor that's more entertaining than the smirky self-referentiality of "Scream". "Final Destination 2" doesn't aspire to be a great movie, but trash has its pleasures. Also featuring Ali Larter as the only survivor of the first movie. "--Bret Fetzer"
Director: James Wong (IV)
Genre: Horror
Studio: New Line Home Video
Rated: R

Giddily gruesome and perversely entertaining, "Final Destination 3" proves, yet again, that horror franchises will thrive as long as teenagers keep finding spectacular ways to die. A stand-alone sequel to the first two "Final Destination" thrillers, this one begins when a group of seven high-school graduates luckily escape from a deadly roller-coaster disaster, only to discover that their own deaths have been only temporarily avoided. Cute brunette Wendy (Mary Elizabeth Winstead) spots clues of impending doom in digital photos of her soon-to-be-expiring classmates, and an ill wind follows her everywhere, suggesting the presence of a supernatural force that makes her a catalyst for gory events, as each of her friends is dispatched in the order they were meant to die. Returning to give their brainchild a suspenseful, low-budget makeover, franchise creators and former "X-Files" writers James Wong and Glen Morgan cleverly play on our collective fears (the roller coaster sequence is genuinely terrifying) with a knowing nod to violent urban legends, which explains their inclusion of the '70s hit "Love Roller Coaster" on the soundtrack when two stuck-up girlfriends pay an ill-fated visit to a tanning parlor. And that's just for starters: With Wong as director, FD3 serves up its grisly deaths with tight pacing and humor, and the cathartic carnage is discreetly edited yet gory enough to satisfy hardcore horror buffs. When morbid mayhem is this much fun, it's a safe bet that another sequel is just around the corner. "--Jeff Shannon"
On the DVD
As befits a horror franchise heavily invested in the idea of "fate," the "Final Destination 3" disc carries a "Choose Their Fate" option. In other words, you can watch the movie with occasional choices offered; click on one of two alternatives, and see that version play out. This won't give you the power to let one character live or die; it's more like deciding whether somebody honks her horn twice in a scene, calls heads or tails on a coin flip, or pushes the thermostat to 72 degrees or 76. Not exactly life-changing, but it's kind of fun.
The bonus disc includes a 90-minute "making of" feature called "Kill Shot", which covers the production of the movie in exhausting detail (honest detail, too: filmmakers James Wong and Glen Morgan are funny and blunt about the business they're in, including a section on how the original ending was scrapped in favor of a bloodier finale). It's everything you'd want to know about this movie--but who needs to know this much? A 7-minute cartoon, "It's All Around You," is an amusing meditation on bad luck and laws of probability, while a 25-minute featurette called "Dead Teenager Movie" spins off from Roger Ebert's theory about the rigid formula of a certain kind of horror film (Ebert weighs in on the subject himself). A few experts opine on the traditions of teenagers dying in horror films; some of them don't seem to be aware that the formula pre-dated the first "Texas Chainsaw Massacre". Audio commentaries, special effects sidebars, and trailers fill out this needlessly authoritative disc. "--Robert Horton"
Director: Simon Chung
Genre: Art House & International
Studio: First Run Features
Rated: Unrated

You don't need flashy direction and big budgets when you have interesting characters, tangible dilemmas, and troubled human relationships. Here is a good example. A quiet love story taking place in Hong Kong between Hugh, a 49 year old professor of English literature and his Chinese student, 19 year old Mark.
The two men are from very different worlds. Hugh is a neurotic character, sensing that his life is slipping away from him. He is writing a play about a long-lost love-affair, but can't get it published. This frustrates him no end, and he has problems concentrating on his job at the University.
Into his life enters Mark, a polite, intelligent Chinese boy, very Confucian, but he seems more sure of himself. He wants Hugh badly, but Hugh is keeping a distance. The key scene happens near the end, when a failed phone-call proves critical.
This film benefits from several viewings. The people grow on you, and what seems like stiff acting is actually restraint, modesty, a reluctance to let themselves go. The good manners of Chinese culture is very much in evidence in Mark and Hugh. Yet, this doesn't retract from the movie, it merely allows you to project you own emotions into the characters. Very Checkovian, you might say.
As for the gay content, expect nothing explicit. But other than that, this is very good indeed.
Note: The film lasts 50 minutes.
Director: Mark Fergus
Genre: Drama
Studio: Sony Pictures
Rated: R

With a thriller as low-key as "First Snow", dynamic acting is a must. Fortunately, Guy Pearce ("Memento") owns the screen as slick salesman Jimmy Starks. In his first film, Oscar-nominated writer Mark Fergus ("Children of Men") forgoes visual effects in favor of an increasingly complex narrative. As in many Stephen King novels, the story centers on the collision between a man of reason and a man of faith--in the supernatural, that is. The foreshadowing begins when Starks visits fortune teller Vacaro (J.K. Simmons, "Spider-Man"). Starks assumes he's a fellow hustler. Then his every prediction comes true. On a return trip, Vacaro tells him he'll be dead by first snow, but can't say how or when. Should Starks put his affairs in order, enjoy his time with girlfriend Deirdre (Piper Perabo), or just do nothing? Then again, snow seems unlikely for Albuquerque. Over the next few days, several possible culprits come to light, like Andy (Rick Gonzalez), an assistant Starks fired, and Vince (Shea Wigham), a partner he sold down the river. Convinced one of them is going to seek revenge, Starks becomes so paranoid he opens the door to disaster. Fergus excels in keeping the tension at a low boil, but he undersells the climax. Still, it's a nice change from all the mysteries that build in intensity before collapsing in a heap of improbabilities. "First Snow" is rooted in the real world from the first frame to the last. "--Kathleen C. Fennessy"
Director: Jon Kasdan
Genre: Comedy, Drama, Romance
Studio: Samuel Goldwyn Films
Rated: PG-13

One night at a friend's house party, a somewhat confident Dave meets a cool and artistic girl named Aubrey. She helps him with his romantic feelings for Jane. They talk about Dave's feelings, and he believes he should tell Jane how he feels. They soon get interrupted by the cops showing up, but decide to walk home together. As the weekend begins, the new friends start to hang out, as well as discuss their relationship... And their virginity. Dave becomes more and more interested in Aubrey, and she reciprocates. Even though she is involved with Roni (her soon to be ex), she has trouble denying her true feelings for Dave. There is one problem, however, Dave is going off to college in another city. Aubrey still has one year left of high school. Will they be able to handle a long distance relationship? Is their love strong enough? Or will Dave chose Jane, the girl of his dreams instead.
Director: Cheh Chang
Genre: Action & Adventure
Studio: Beverly Wilshire
Rated: R

One of the loopiest kung-fu movies ever made, a garish masterpiece of martial kitsch by the hard-boiled master of the genre, Chang Cheh. The five muscle-bound paragons of the title have fighting skills so hyperdeveloped that they border upon the occult, each modeled on the behavior of a different venomous beast: centipede, snake, lizard, toad, and scorpion. This "poison clan" is embroiled in a complex plot to lay claim to an ill-gotten fortune, but the story line feels like an afterthought. The nonstop wall-crawling action sequences, which match up the cast members in every conceivable combination, are the be all and end all here. This is late, decadent Chang Cheh, without the poise and sweep of earlier epics like "Blood Brothers" and "Vengeance" (the noble David Chiang-Ti Lung team ups that inspired John Woo), but it's great fun on its own terms. The painted masks worn by the Venoms, which make them look like berserk extras in a wrestling film, are based upon the belligerent warrior face paint of Chinese opera. "--David Chute"
Director: Justin Baldoni
Genre: Drama, Romance
Studio: CBS Films
Rated: PG-13

Seventeen-year-old Stella spends most of her time in the hospital as a cystic fibrosis patient. Her life is full of routines, boundaries and self-control all of which get put to the test when she meets Will, an impossibly charming teen who has the same illness. There's an instant flirtation, through restrictions dictate that they must maintain a safe distance between them. As their connection intensifies, so does the temptation to throw the rules out the window and embrace that attraction.
Director: Mike Hodges
Genre: Action, Adventure, Sci-Fi, Thriller
Studio: Universal Studios
Rated: PG

When the totalitarian planet of Mongo decides on a whim to obliterate Earth, it's up to the lunk-headed quarterback Flash Gordon and his oddball companions to make the universe safe for democracy. Based on the classic (and infinitely more reputable) comic strip and its '30s screen serialization, this cotton-candy-colored trash classic deserves immortality for Queen's unforgettably pulsating soundtrack alone. The legendary Max von Sydow appears to be having a blast as the evil Ming the Merciless, while Ornella Muti, as his daughter, is the living embodiment of what attracts adolescent boys to comics in the first place. (She makes Barbarella look mundane.) One of the most shamelessly entertaining movies ever made, this is a knowingly absurd sensory freak-out that'll have the viewer blissfully checking the sky afterward for signs of Hawkmen. "--Andrew Wright"
Director: Niels Arden Oplev
Genre: Drama, Sci-Fi, Thriller
Studio: Columbia Pictures
Rated: PG

Medical students begin to explore the realm of near death experiences, hoping for insights. Each has their heart stopped and is revived. They begin having flashes of walking nightmares from their childhood, reflecting sins they committed or had committed against them. The experiences continue to intensify, and they begin to be physically beaten by their visions as they try and go deeper into the death experience to find a cure.
Director: Robert Gaston
Studio: WATER BEARER FILMS
Rated: Unrated

Directed by Robert Gaston (2 Minutes Later) this film festival favorite Flight of the Cardinal received the honor as the Closing Night Selection for Philadelphia s 16th Annual Qfest where Matthew Montgomery earned the Artistic Achievement Award for his fine performance. Since then it has played multiple film festivals around the nation.
This tightly woven psychological thriller set in the desolate Smoky Mountains involves a volatile city boy, Grady (Ross Beschler), who becomes the proprietor of a resort lodge while a roguish young local, Beetle (David J. Bonner), schemes to take over his life.
The stunning ensemble cast includes award-winning cult favorite Matthew Montgomery, Claire Bowerman, Liz Douglas, Jeremy Marr Williams and Z. Joseph Guice.
Director: Carlo Carlei
Genre: Art House & International
Studio: MGM (Video & DVD)
Rated: R

An unusual mix of lyrical filmmaking in golden hues and gauzy images with shocking, brutal violence, "Flight of the Innocent" gives a kid's-eye view of a war among crime families in Southern Italy. Resourceful schoolboy Vito (Manuel Colao), the youngest son in a mob family of kidnappers, is the sole survivor of a massacre that lays waste to his entire rural household. He flees to Rome to find his cousin, while a vicious scar-faced killer (Federico Pacifici) is on his trail, haunted by the face of his family's latest victim, a boy no older than he. Though clever and patient, Vito remains a boy whose innocence is threatened by the corruption around him, his world shattered by murder, fear, and the guilt over his family's crimes, which he attempts to atone for in a personal act of penitence. It's a startlingly beautiful film filled with poetic images and a sense of wonder constantly shattered by violence, a beautiful visual irony that tends to overwhelm the more difficult conflicts of the narrative and may ultimately splinter the film's potential audience. The lyrical delicacy of the film hardly fits the he-man attitude of most action cinema, and the explosive, brutal violence will likely turn away much of its art-house audience. "--Sean Axmaker"
Director: Robert Schwentke
Genre: Drama
Studio: Touchstone / Disney
Rated: PG-13

Like a lot of stylishly persuasive thrillers, "Flightplan" is more fun to watch than it is to think about. There's much to admire in this hermetically sealed mystery, in which a propulsion engineer and grieving widow (Jodie Foster) takes her 6-year-old daughter (and a coffin containing her husband's body) on a transatlantic flight aboard a brand-new jumbo jet she helped design, and faces a mother's worst nightmare when her daughter (Marlene Lawston) goes missing. But how can that be? Is she delusional? Are the flight crew, the captain (Sean Bean) and a seemingly sympathetic sky marshal (Peter Sarsgaard) playing out some kind of conspiratorial abduction? In making his first English-language feature, German director Robert Schwentke milks the mother's dilemma for all it's worth, and Foster's intense yet subtly nuanced performance (which builds on a fair amount of post-9/11 paranoia) encompasses all the shifting emotions required to grab and hold your attention. Alas, this upgraded riff on Hitchcock's "The Lady Vanishes" (not to mention Otto Preminger's "Bunny Lake is Missing") is ultimately too preposterous to hold itself together. "Flightplan" gives us a dazzling tour of the jumbo jet's high-tech innards, and its suspense is intelligently maintained all the way through to a cathartic conclusion, but the plot-heavy mechanics break down under scrutiny. Your best bet is to fasten your seatbelt and enjoy the thrills on a purely emotional level -- a strategy that worked equally well with "Panic Room", Foster's previous thriller about a mother and daughter in peril. "--Jeff Shannon"
Director: Alan Shapiro
Studio: Universal Studios
Rated: PG

The 1963 film that inspired a popular television series about a chatty, lovable dolphin gets a sunny makeover in this 1996 update. Elijah Wood plays Sandy, a bleak adolescent from Chicago struggling with the recent divorce of his parents and wanting only to immerse himself in familiar comforts. Instead, Sandy is sent to Coral Key, an island off Australia, to spend a summer with his Uncle Porter (Paul Hogan), a benevolent old fisherman. The sights and pleasures of the island, including a pretty neighbor named Kim (Jessica Wesson), aren't enough to shake off Sandy's gloomy outlook. But when he meets Flipper while boating with Porter, his morale improves considerably, then gets another boost when Flipper develops a loyal attachment to him. A subplot about a crooked charter-boat company dumping toxic waste off the coast feels like a necessary evil, just to give the screenwriter something to do. Other than that, the film is quite fun and charming, and Hogan is a pleasure to see with his cracker-barrel wisdom. Great fun all around for ages 6 and up. "--Tom Keogh"
Director: Richard Glatzer, Wash West
Genre: Comedies
Studio: First Run Features Home Video
Rated: R

When wide-eyed and innocent Sean McGinnis (Michael Cunio) moves to Los Angeles to make it big in the movies, he quickly finds work on the sets of gay pornography films. There he does odd jobs, among them performing as a "fluffer" for a hot porn star called Johnny Rebel (Scott Gurney.) A young man still coming to terms with his homosexuality, Sean becomes instantly smitten with Rebel, who is straight and lives with his stripper girlfriend. Even when Sean meets a gay man who shows interest in him, he remains obsessed with the self-absorbed and narcissistic Rebel. As Rebel increasingly abuses drugs and his girlfriend, Sean keeps making excuses for him. But when it becomes evident that the object of his obsession may be involved in a horrific crime, Sean must face reality--and himself. <br><br>Though set in the world of pornography, THE FLUFFER is primarily about a gay youth's quest to accept himself. Dealing sensitively with the delicate issues of self-hatred and internalized homophobia, THE FLUFFER is both touching and humorous. Appearances by legendary porn star Ron Jeremy, famed transsexual Chi Chi La Rue, and rocker Debbie Harry add to the fun.



Muze/MTS Inc.
Director: Marcel Gisler
Genre: Art House & International
Studio: Water Bearer Films,

"Foegi is a Bastard" ("F. Est un Salaud") is a nicely acted, small, Swiss film on a destructive gay relationship.
Beni, very well acted by Vincent Branchet, is a sixteen-year old who gets an immediate attraction to a twenty-six-year old lead guitarist named Foegi {or Fogi if you ignore the umlaut}, also well acted by Frederic Andrau. Foegi sings in excellent English for a rock band called "The Minks". Beni exits his fatherless family and his high school to move in with Foegi. Beni is eager to do anything to please Foegi.
Unfortunately Foegi comes with the wrong baggage. Foegi has a history of drug dealing and thinks old people (40, say) should consider committing suicide. When "The Minks" start running out of gas, Foegi gets into conflicts with some other band members and decides to take a trip to Lebanon to get hashish for dealing. Beni feels lonely and lets himself be picked up by a psychiatrist. When Foegi returns, the tryst is forgiven, but it gives Foegi an idea of how he can make money by renting out Beni's time.
Foegi is tiring of Beni's clinging and of life in general. Foegi makes light of Beni's eagerness to please by having Beni strip and pretend to be a pet dog. Beni takes to the role and makes the initial acquaintance of a (symbolic)white dog. Foegi likes his distance.
As Foegi continues drifting downward, Beni becomes the primary breadwinner and manager of the household. Troubling thoughts emerge when another Mink member commits suicide. Eventually Foegi's demons take them down to a beach at St. Tropez, where the movie resolves.
The supporting actors all perform solidly. The script is quite good, at least as subtitles. Both Beni and Foegi have more extensive nude scenes than would normally appear in American films. There are no extra features, other than a trailer for "The Blue Hour", a good film by the same director.
Beni and Foegi are believable characters in a relationship whose decline entertains while heading toward its inevitable climax.
Director: Ventura Pons
Genre: Art House & International
Studio: TLA Releasing
Rated: R

Acclaimed Spanish Director Ventura Pons’ first English language film is a beautiful and faithful adaptation of David Leavitt'Ss novel "The Page Turner." Paul is a promising young pianist, who is hired to be a page turner for his idol, Richard Kennington. They meet again while Paul is on vacation with his mother in Barcelona. Thus begins a love affair that moves from Spain to New York, complicated by Paul's mother and Richard’s agent/lover.
Director: Mark Rydell
Studio: ANCHOR BAY
Rated: R

Bette Midler gives the brassiest, sassiest performance of her career as Dixie Leonard, a USO singer whose electrifying stage presence, and flair for outrageous comedy, captivates troops and civilians alike. Teamed up with America s beloved song-and-dance man, Eddie Sparks (James Caan), the whole world becomes Dixie s stage through three very different wars, and 50 years of music and memories, laughter and tears.
Director: J.S. Cardone
Genre: Horror
Studio: Sony Pictures
Rated: R

Inviting comparison to Kathryn Bigelow's 1987 cult hit "Near Dark", and derivative of "The Hitcher" and a half-dozen other films, "The Forsaken" is nevertheless a gritty little B movie that succeeds on its own modest terms. There's nothing new here, and the film's vampire folklore is only marginally intriguing, but if you're attracted to nihilistic tales that unfold in the middle of nowhere, you'll appreciate this bloody dose of low-budget horror. It all starts when Sean (Kerr Smith) agrees to drive a vintage Mercedes from Los Angeles to Florida, where he'll deliver the car and attend his sister's wedding. His troubles begin when he picks up Nick (Brendan Fehr), a nomadic "hunter" on the trail of a small cadre of vampires (a.k.a. "the Forsaken") who've been spreading their blood-sucking virus since medieval times. Nick's mission: Stop the virus by killing the vampires on sacred ground, using a rescued victim (Izabella Miko) as telepathic bait (telepathy being one of the movie's vampiric innovations).
It's basically a road movie with car chases, nudity, and plenty of grisly violence. It's not as stylish or witty as "Near Dark", but after two decades in the B-movie biz, writer-director J.S. Cardone knows what he's doing, and while the movie's never really fresh, it's also never stupid. The young cast plays it straight (which is good), and Jonathan Schaech is a standout as the lead vampire. It's anybody's guess why the vampires manifest themselves as desert-dwelling punks in a rusty Dodge Charger, but hey, sometimes you just gotta go with the (blood) flow. "--Jeff Shannon"
Director: Darren Aronofsky
Studio: Warner Bros. Pictures
Rated: PG-13

Science fiction and romance collide in "The Fountain", the ambitious third feature from director Darren Aronofsky ("Pi", "Requiem for a Dream"), who labored for four years to complete this epic-sized love story that stretches across centuries and galaxies. Hugh Jackman and Rachel Weisz (Aronofsky's real-life companion) play lovers in each of the film's three settings--16th century Europe and America (Jackman is a Spanish explorer searching for Incan magic), the present day (Jackman is a doctor attempting to cure his dying wife), and the 26th century (Jackman is a space traveler seeking a gateway to the afterlife)-–who struggle mightily to stay united, only to lose each other time and again. Aronofsky may not have chosen the easiest presentation for audiences to absorb his theories on the lasting qualities of life and the transformative powers of death-–the final sequence, in particular, with a bald Jackman floating through space in a bubble, harks back uncomfortably to "head movies" of the late '60s-–but his leads have considerable chemistry (and look terrific to boot), which goes a long way towards securing viewers' hopes for a happy ending. Critical reception for The "Fountain" has been nothing short of bloodthirsty, with Cannes audiences booing, but there are elements to enjoy here, even if the premise throws one for a loop. Ellen Burstyn (who earned an Oscar nomination for "Requiem") delivers a typically solid performance as Jackman's boss in the present day sequence, and special effects (most done without the benefit of CGI) are also impressive given the film's low budget (spurred by a mid-production shutdown after original stars Brad Pitt and Cate Blanchett ankled the picture). And science-fiction fans whose tastes run towards the metaphysical (Asimov, Le Guin) will appreciate the attempt to present the genre in a serious light. " -- Paul Gaita"
Director: Sergio Tovar Velarde
Genre: Drama, Romance, TV Movie
Studio: ATKO Films
Rated: Unrated

Four stories about love and self-acceptance: An eleven year-old boy struggles to keep secret the attraction he feels towards his male cousin. Two former childhood friends reunite and start a relationship that gets complicated due to one of them's fear of getting caught. A gay long lasting relationship is in jeopardy when a third man comes along. An old family man is obsessed with a young male prostitute and tries to raise the money to afford the experience.
Director: Olatunde Osunsanmi
Genre: Mystery, Sci-Fi, Thriller
Studio: Universal Studios
Rated: PG-13

Nome, Alaska: the edge of the world. What better place for the extraterrestrials to conduct their fiendish abduction experiments? Or so the makers of "The Fourth Kind" insist, in their grim attempt to reveal the truth about these mysterious disappearances. You know the movie means business when actress Milla Jovovich (as herself, without makeup, even) strides toward the camera in the opening moments and introduces things by warning us that we are about to see and hear actual tapes from psychotherapy sessions in which patients recover repressed memories. We might find it disturbing. Yes, but isn't that why we're watching the movie? Director Olatunde Osunsanmi soon appears onscreen himself, interviewing the real psychologist whom Jovovich plays, and throughout the film there are rough-looking videos of real people freaking out during hypnosis sessions--and even a bit of alien screeching caught on audio tape. Yep, it's all real, except it's all fake. "The Fourth Kind" has an ingenious marketing idea, which is to breathlessly convince the audience they are seeing actual footage of the supposed events, even to the point of playing the video excerpts next to the studio-shot scenes with actors. After a while, you realize that's all the movie has: the audience's willingness to believe there's a ghost of a chance this might have happened. As a horror movie, the thing is clinical and detached, and when you've figured out the bogusness of the conceit, that doesn't leave much. Elias Koteas and Will Patton join Jovovich in the heated story--or should we say, reconstructions of actual events. Aw, phooey. "--Robert Horton"
Director: Rainer Werner Fassbinder
Genre: Art House & International
Studio: Fox Lorber
Rated: NR

The original German title, "Faustrecht der Freiheit", which roughly translates as "Might Makes Right," describes rather bluntly the crux of this compelling drama, one of Rainer Werner Fassbinder's most acclaimed films. Fassbinder takes a rare starring role as Franz--"Fox" to his friends--a gay carny thrown out of work when the cops close a fairground sideshow. Introduced to a group of cultivated homosexuals by an antique and art dealer (Karlheinz Böhm of "Peeping Tom" fame), he becomes involved with high-class dandy Eugen (Peter Chatel), who finds the naive, uneducated innocent easy prey when he unexpectedly wins 500 thousand marks in the lottery. Eugen alternately flatters and humiliates Fox, ridiculing his working-class manners and tastes while sponging off his fast-disappearing fortune. The story is partially autobiographical, inspired by Fassbinder's own relationship with an illiterate butcher, but the director casts himself as the victim in the cinematic incarnation and turns his tormentor into a veritable vampire. Biographical considerations aside, it remains one of Fassbinder's most affecting, accomplished, and personal films, and he delivers a sweet, wounded performance as the proletariat Fox in a den of cultured, upper-class hounds. His evocation of the affluent gay community is catty and brittle, but ultimately this powerful drama is less about sexual orientation than class, power, and sexual control. "--Sean Axmaker"
Studio: Sony Pictures
Rated: R

Based on true events, "Foxcatcher" tells the dark and fascinating story of the unlikely and ultimately tragic relationship between an eccentric multi-millionaire (Steve Carell) and two champion wrestlers (Channing Tatum and Mark Ruffalo). Directed by Academy Award nominee Bennett Miller (2005, Best Director, "Capote") it is a rich and moving story of brotherly love, misguided loyalty, and the corruption and emotional bankruptcy that can accompany great power and wealth. Nominated for five Academy Awards including Best Actor, Best Supporting Actor, Best Director, Best Original Screenplay, and Best Makeup
Director: Gregory Hoblit
Genre: Drama
Studio: New Line Home Video
Rated: R

Anthony Hopkins plays a brilliant, pathologically serene killer outwitting the good guys at every turn and taking a shine to a twentysomething law enforcer who can’t conceal a rural accent and rugged origins. Could it be...? No, not "The Silence of the Lambs", but an original mystery, "Fracture", which plays a little like "Lambs" as an episode of "Columbo", minus Columbo. Which means the film tells us from the get-go that Hopkins’ character, a wealthy engineer, shoots his philandering wife (Embeth Davidtz) and leaves her in a vegetative state. From there, it should be a simple matter for young, assistant District Attorney Willy Beachum (Ryan Gosling) to nail Crawford, who provides a full confession and even eschews counsel. That’s good for Beachum, a slick winner with a vague background of deprivation, rapidly on his way out of public service after attracting the attention of a deep-pocket, private firm. What he doesn’t know, however, is that Crawford has masterminded more than vengeance against his wife, and that the state’s case against him is full of pre-arranged holes and a huge time-bomb that will send Beachum scrambling to keep the pieces together.
The story, conceived and co-scripted by Daniel Pyne ("Doc Hollywood"), goes down easily with a minimum of blood and violence, and should easily appeal to mystery buffs as well as old fans of Hopkins and new admirers of Oscar nominee Gosling ("Half Nelson"). The latter holds his own in multiple, two-character scenes with the masterful portrayer of Hannibal Lecter, pacing Beachum’s reactions to Crawford’s polite provocations so everything spills onto his youthful face: torn loyalties, confusion, gullibility. Director Gregory Hoblit ("Hart’s War"), still best-known for decades of distinguished television work ("NYPD Blue"), brings the necessary intimacy to make the stars’ chemistry work effectively. His noirish atmosphere is a little over the top, sometimes pushing the audience to a level of expectation that the film isn’t really ready to deliver, but this, overall, is an enjoyable work. "--Tom Keogh"
Director: Bill Paxton
Genre: Horror
Studio: Lions Gate
Rated: R

Steeped in gloomy atmosphere, "Frailty" locates its horror in the tyranny of religious fanaticism. Making an assured directorial debut, actor Bill Paxton costars as a Texas widower who believes God has recruited him to destroy demons in human form. Feeling divinely justified in committing a series of ax murders (discreetly unseen), he urges his two young sons to assist him in the killings--a living nightmare recalled in flashback by one of the now-adult sons (Matthew McConaughey) to the FBI agent (Powers Boothe) who's investigating the murders. But mystery is of secondary importance in Brent Hanley's cleverly twisting screenplay; "Frailty" suggests, with unsettling subtlety, that Paxton's mission may not be delusional, thus burdening his deadly wrath with spiritually disturbing significance. It's definitely not a feel-good film, but with celebrity endorsements by Stephen King and directors James Cameron and Sam Raimi (who both made films with Paxton), "Frailty" gets under the skin with insidious efficiency. "--Jeff Shannon"
Director: Zach Lipovsky
Genre: Drama, Mystery, Sci-Fi, Thriller
Studio: Amazing
Rated: R

A bold girl discovers a bizarre, threatening, and mysterious new world beyond her front door after she escapes her father's protective and paranoid control.
Director: Ronny Yu
Genre: Horror
Studio: New Line Home Video
Rated: R

After 11 years in development hell and screenplay drafts by 13 different writers, the long-awaited smackdown of "Freddy vs. Jason" finally arrives. After making their respective debuts in "Friday the 13th" (1980) and "A Nightmare on Elm Street" (1984), the hockey-masked killer Jason Voorhees (Ken Kirzinger, replacing long-time Jason performer Kane Hodder) and razor-gloved Freddy Krueger (Robert Englund) square off in a slasher-franchise combo-deal that only their most devoted fans will appreciate; turns out this is a lightweight match in which nobody wins. It's an average entry in the histories of these horror icons, comparable to half of their previous sequels, and "Bride of Chucky" director Ronny Yu satisfies purists with plenty of gushing blood and mayhem when Freddy recruits Jason to slice 'n' dice the ill-fated teens who've forgotten Freddy's once-formidable reign of terror. While it logically connects the gruesome legacies of "Nightmare"'s Elm Street and "Friday"'s Camp Crystal Lake, this horror hybrid is shockingly uninspired. It briefly peaks when Freddy gives the unconscious Jason a dream-world pummeling, but their ultimate showdown's a draw. In the immortal words of Peggy Lee, is that all there is? "--Jeff Shannon"
Director: Stephan Lacant
Studio: Wolfe Video
Rated: Unrated

With a promising law enforcement career and a child on the way, Marc s (Max Reimelt, Before The Fall) life is going according to plan until he meets the free spirited Kay (Hanno Koffler, Summer Storm). They start jogging together, bringing a breath of fresh air into Marc s life and, for the first time, he develops feelings for a man. Torn between the life he knows so well and the exhilaration of this new adventure, Marc s finds himself in a state of free fall, unable to make anyone happy anymore least of all himself. FREE FALL is part of a new wave of powerful German cinema. Stephan Lacant s first feature film tells the dramatic tale of a man who finds himself outside the clear-cut boundaries of his world. Exceptional performances from Hanno Koffler (A HERO S WELCOME), Max Riemelt (BEFORE THE FALL, THE WAVE, IN THE FACE OF CRIME) and Katharina Schüttler (SOPHIIIIE!) provide a moving portrayal of what happens when life plans crumble and there is no way left to fulfil the needs of the people you love.
Director: Paul van den Boom
Genre: Comedy
Studio: Cinema Libre
Rated: NR

A whimsical look at patriotism and consumerism in America. It explores the absurdity of many of the symbolic gestures that have recently pervaded our culture, such as the wasting of perfectly good French Wine and the waving of Chinese-made American flags. With the help of a leading scholar and an outspoken social activist, this film draws a concrete relationship between American consumerism and patriotism.
Featuring the infamous anti-consumerism activist Reverend Billy.
Director: Gregory Hoblit
Genre: Mystery & Suspense
Studio: New Line Home Video
Rated: PG-13

"Frequency" is really two different--though inextricably linked--movies. First, the emotional drama of a father and son reunited after 30 years of separation. Then there's a science fiction thriller, in which a couple of chance solar storms, occurring exactly 30 years apart, can provide the agency through which the father and son can communicate using the very same ham radio in parallel time frames of 1969 and 1999. The son is John Sullivan (Jim Caviezel), a cop, and his father is Frank (Dennis Quaid), a firefighter who died on the job when John was 6, which just happens to be tomorrow for Frank when he and his now-adult son begin talking across time. This is great for John, because now he can warn his dad about the upcoming fire and avert the catastrophe that left him fatherless for most of his life. Accomplishing this gives John new memories of his life with Dad, but unfortunately alters the course of a serial killer, with tragic effect on John's family history. Since John's a cop, and the case he's working on turns out to be the same unsolved case from 30 years before, he and his father work together over the ham radio to solve the case and hopefully avert the tragedy that befell their family.
Time-travel stories have always been problematic, demanding either an extra degree of credulity on the part of the audience or an extra level of explanation on the part of storytellers, which is invariably cumbersome. "Frequency" handles the troublesome time paradoxes by having John explain how, having altered his past, he now experiences both timelines, as if he's had two pasts that converge in his present. And as changes continue to be wrought in John's past, we see him becoming more and more confused. No doubt the audience can sympathize, at least those of us who try to follow the ramifications of the rapidly accruing time fractures. Luckily, the bond between father and son is so strongly realized in the deeply felt performances of both Caviezel and Quaid that you don't even need to consider the science fiction elements in order to enjoy the film. But if you can suspend your disbelief long enough to allow for the possibility of time shifts, you'll have a far richer experience. "--Jim Gay"
Director: Marcus Nispel
Genre: Horror
Studio: New Line Cinema
Rated: R

A group of young adults set up tent near the abandoned summer camp where a series of gruesome murders are said to have taken place back in 1980. The perpetrator was a grieving mother, driven insane by the drowning of her child, Jason, whom she believed was neglected by the camp counselors. As legend has it, the last survivor of the attacks beheaded the woman. But then Jason came back, and now he is a vengeful and inexorable killer, wielding crossbows, swords, axes and other sharp instruments. The legend proves horribly true, as these campers quickly discover. Six months later, the brother of one of those campers distributes posters of his missing sister. The police believe she took off with her boyfriend; but he knows better. The brother crosses paths with an uptight young rich guy who is having his girlfriend and friends over at his parents' cabin. The brother ends up at the cabin himself just before his sister's attacker sets upon them all.
Director: Craig Gillespie
Studio: BUENA VISTA HOME ENTERTAIMENT
Rated: R

Senior Charley Brewster (Anton Yelchin) finally has it all. He's running with the cool kids and dating the hottest girl in high school (Imogen Poots). But all hell breaks loose when charming Jerry Dandrige (Colin Ferrell) moves in next door. Charlie thinks there's something odd about him, although no one - including his mom (Toni Collette) - seems to notice. But after too many of his classmates vanish under bizarre circumstances, Charley comes to an unmistakable conclusion: Jerry is a vampire preying on his neighborhood! Get set to sink your teeth into this thrilling, modern-day re-vamp of the wickedly entertaining horror classic. Featuring a star-studded cast and crawling with bonus, Fright Night will captivate you from the very first bite!
Director: David Zellner, ,

Director: Adam Green
Genre: Thriller
Studio: A Bigger Boat
Rated: R

At Mount Holliston, snowboarders Dan Walker, his girlfriend Parker O'Neil and his best friend Joe Lynch don't have enough money to buy lift tickets. Parker bribes Jason, a lift-worker, with one hundred dollars. When the system is nearing closure, they force Jason to let them have one last pass. However, Jason needs to resolve a problem and his colleague misunderstands his instructions and stops the lift. The trio of skier and snowboarders gets stranded on the chairlift near the top of the mountain. When they see that the lights of the ski resort had been turned off, they need to make a choice: leave the chairlift or freeze to death.
Director: Gaël Morel
Studio: Strand Releasing
Rated: Unrated

French auteur Gael Morel pays tribute to the rush associated with reaching the age of 20 in this fast-paced, sexually charged drama. During the prologue, teen Samir and his best friend Rick rub bloody fingers together as they make a blood-brother's pact. Suddenly a shot rings out and Rick dies of a bullet wound in Samir's arms. Time passes and Algeria-born Samir feels uncomfortable about his cultural background. Meanwhile, university student Julie is upset to hear that her boyfriend Quentin has just signed a contract to publish his first book and move to Paris. It doesn't help that his book is a barely disguised chronicle of his friends' activities. Quentin meets the blatantly homosexual Samir at a party one night. Interested in finding more fodder for a second book, he gets Samir to tell about his intimate relationship with the late Rick. It's difficult, but Samir complies even as he finds himself increasingly attracted to Quentin, who rejects him point blank. ~ Sandra Brennan, Rovi
Director: Michael Haneke
Genre: Horror
Studio: Warner Independent Pictures (WIP)
Rated: R

Michael Haneke is a modern master, which his spellbinding films "Cache" and "The Piano Teacher" proved to an international audience. When it came time for a Hollywood remake of his ultra-disturbing 1997 picture "Funny Games", who better than Haneke himself to helm the new version? And indeed, the second "Funny Games" bears the impeccable sense of control and technique that the Austrian version had: it is a horrifyingly precise account of a family terrorized by two psychopathic young thugs at a vacation home. For anyone who's already seen the '97 film, this new one--a nearly shot-by-shot transcription of the original--will seem superfluous, no matter how impressive the performances of Naomi Watts and Tim Roth are. (Michael Pitt and Brady Corbet are suitably creepy as their menacers, too.) For newbies, the movie might be as infuriating and thought-provoking as Haneke intends it to be. That's because Funny Games is an intellectual game itself, a direct rebuke to the audience that gobbles up gratuitous violence and cynical manipulation. Haneke sets up our expectations, and then refuses to provide the conventional catharsis… or the conventional anything. All of this was pretty bracing in the first go-round, but feels like gamesmanship in the remake. Even if you dig what Haneke's up to, this is a brutal movie-watching experience. "--Robert Horton"