Film Clips

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 hystrionics 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 1950’s 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)

Spartan (R) — David Mamet’s new political thriller about the kidnapping of a U.S. president’s daughter sets a gritty mood that challenges the audience to read into much of the action on screen. Despite an intriguing set up, the script too infrequently lets loose with the trademark gut-punch dialogue found in other Mamet films like “Glengarry Glen Ross” and “Ronin.” Lacking that distinctive word play, “Spartan” amounts only to a run-of-the-mill drama.

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)

50 First Dates (PG-13) — For all of its absolutely implausible premise, this offbeat romantic comedy is a pleasant surprise. The film works on several levels, beginning with the natural chemistry between Adam Sandler and Drew Barrymore, whose interactions are sweet, genuine and comical. Far from possessing your typical movie star beautiful looks, together they put a believable face to an unlikely love affair. But the film isn’t all romance — we’re still talking about an Adam Sandler movie and there’s still plenty of physical comedy and the occasional gross-out.