Film Clips

Fahrenheit 9/11 (R) — Documentary filmmaker Michael Moore challenges the political and emotional sentiments of movie audiences once again with his new film and in the process conceives his most compelling and articulate work to date. Alternating between pointed humor and stomach-turning horror to make his arguments, there’s no new revelations here that haven’t already been brought to light. What makes the audience sit up and take notice is the way in which he frames these facts, suggesting connections that transform the tedious into the alarming. (Reviewed June 25)

Dodgeball: A True Underdog Tale (PG-13) — You’d think a comedy with a plot that involves grown men repeatedly getting hammered in sensitive areas of the anatomy by various projectiles would eventually run out of steam. It turns out that it has more going for it than one might expect. It takes its time getting up to speed, but once the first ball is hurled, the constant onslaught of low-brow humor and physical comedy are enough to blow out a lung from laughing so hard. (Reviewed June 18)

Saved! (PG-13) — Leave your pre-conceived notions about religion at home. Bravely venturing into sacred territory — Christian high school — it’s not your average teen comedy. And that’s refreshing. Director and co-writer Brian Dannelly uses humor with smart efficiency to drive home the absurdity of intolerance, and manages to bend and break some well-worn cliches of teen comedy movies. The performances are also something not seen too often in the genre. (Reviewed June 11)

Shrek 2 (PG) — It’s a rare thing when a sequel is as satisfying as the original, and “Shrek 2” gives its predecessor a run for its money, with plenty of sight gags and its share of crude (but really funny) jokes. Appearances by both familiar and new icons of fairy tale and pop culture in even more inventive and unconventional settings make this funny and clever on a “grown-up” level. (Reviewed May 21)

Troy (R) — For those expecting the mythological world of Homer’s ancient Greek poem “The Iliad,” they may be disappointed by the absence of the Greek gods as living, interacting characters in the plot. Instead, the gods take a back seat to director Wolfgang Petersen’s attempt at a more historical, mortal telling of the classic Greek story. The presence of a bronzed, muscled Brad Pitt as the warrior Achilles, however, will probably diminish the holes in the plot. (Reviewed May 14)

Van Helsing (PG-13) — This blending of horror, science fiction and fantasy genres is a nightmare — and not in a good way. This is a dreadful movie. Really, really awful. Bram Stoker is turning in his grave, as are Mary Shelley and Robert Lewis Stevenson. So is James Whale, the director of the original “Frankenstein” movie. What likely was an inventive concept on paper has been rendered as a very, very expensive B-movie — and not the kind that shows up at cult film revivals. (Reviewed May 7)

Mean Girls (PG-13) — Saturday Night Live head writer and performer Tina Fey’s screenplay is really what gives the film its substance. A homeschooled 16- year-old finds herself unprepared for the complex social system of high school, and gets in over her head with a group of girls who thrive on gossip, deceit and rejection. As much as the film scrutinizes the strict boundaries of teenage cliques, none of the characters is solely a “good girl” or a “bad girl.” And just like Fey’s biting social and political humor on SNL, the film’s dialogue is clever without being preachy. (Reviewed April 30)

13 Going On 30 (PG-13) — This charming, sweet comedy about second chances gives Jennifer Garner (of television’s edgy “Alias”) her first leading film role. Who knew she also had talent as a comedian? It’s near impossible not to get swept up in this modern fairy tale, especially if you’ve ever been a 13-year-old girl. But “13 Going On 30” is also a smart morality play, a cautionary tale about what happens when you get exactly what you wish for. (Reviewed April 23)

Kill Bill Volume 2 (R) — A significant departure from the stylized violence and theatrical histrionics of Volume 1, Quentin Tarantino elevates the Bride’s vengeful odyssey to genuinely epic filmmaking, by giving his heroine a heart. Where Volume 1 was more brawn, Volume 2 is more brain. The violence, while still raw and vicious, is muted by extended intervals of reflective, weighty dialogue, giving the proceedings a distinctly film noir feel. (Reviewed April 16)

The Alamo (PG-13) — A competently made film about the pivotal battle on the road to Texas independence, with fine performances from the lead actors — in particular Billy Bob Thornton, who projects his David Crockett as a reluctant hero. Walking the fine line between history and mythology, this is ultimately told as a sobering, tragic story where the final victory seems hollow. For history students, it will be insightful; for those looking to bolster their patriotism, it may not go over well. (Reviewed April 9)

Walking Tall (PG-13) — Like most recent remakes, this bears only a skeletal similarity to the original and can’t be fairly compared to its predecessor. At a scant hour and 15 minutes, it gets to the point of the story pretty quickly. While it’s not supposed to require any profound philosophical contemplation, something seems to be missing from this version — perhaps the quaint southernness that made the original a cult classic. Still, it has its moments, including chemistry between unconventional action duo The Rock and Johnny Knoxville, which makes for some entertaining scenes. (Reviewed April 2)

The Ladykillers (R) — The Coen brothers are back, this time unearthing the classic 1950s British crime farce and reinventing it in their own classic black comedy tradition — an American Gothic tale of crime, avarice and karmic justice. The focus on reproducing the mood of the original takes the brothers away from their usual attention to characters, resulting in caricatures rather than ripened personalities. The exception to this is Tom Hanks, whose ridiculous and hilarious Professor effectively steps away from his typical nice guy demeanor — and is the highlight of the film. (Reviewed March 26)

Taking Lives (R) — An effective thriller that offers several juicy plot turns to keep the audience guessing the killer’s identity. Appearances are everything — or so they seem — and the film delivers a number of jarring revelations punctuated by an eerie soundtrack by minimalist composer Philip Glass. Second-time director D.J. Caruso (“The Salton Sea”) continues to hone his adeptness with artful visual cues, leaving the audience feeling as though they’ve been thrust into a M.C. Escher illustration. (Reviewed March 19)

NASCAR 3D (PG) — The ultimate seat-of-your-pants experience, combining the IMAX film format, cutting edge “3D” technology and a sport where athletes approach 200 mph, it’s hard to find a reason not to like this film. For an all too short 47 minutes the audience is immersed in asphalt, steel, and high octane fuel while surrounded by the roaring of engines and crowds. For racing fans, it’s a dream come true; for the uninitiated, it’s an effective crash course on a technological and commercial phenomenon. (Reviewed March 12)

The Passion of the Christ (R) — Simultaneously brutal and beautiful, “The Passion of the Christ” is a gruesome portrayal of the last 12 hours of Jesus of Nazareth’s life. It is horrific, disturbing, and merciless; well-intentioned parents should reconsider exposing any children under high school age to the unrelenting brutality and frightening apparitions of evil that drench the film. (Reviewed Feb. 27)