Movie Minis

OPENING

• The Alamo (2004) (PG-13: “Sustained, intense battle sequences,” according to the MPAA) — A heroic spectacle about the most pivotal lost battle in Texas history. Billy Bob Thornton, Jason Patric and Patrick Wilson portray Davy Crockett, Jim Bowie and William Travis, respectively, leaders among the doomed defenders drawn to a mission fortress in south central Texas in 1836. Directly in the path of an invading army commanded by the Mexican strongman Santa Anna (Emilio Echevarria), the outpost becomes a sacrificial rallying cry for wrangling Texan insurgents during a 13-day siege. The defeat at the Alamo sets the stage for a decisive confrontation weeks later between Santa Anna and the Texan army led by Sam Houston (Dennis Quaid).

• Dogville (2003) (R: Occasional profanity, graphic violence and sexual vulgarity, including allusions to rape and prostitution) — 1/2*. The dogmatic, alienating Danish filmmaker Lars von Trier promotes himself as a barometer of anti-American sentiment in this punitive example of polemical theater. An elevated platform on a soundstage encloses Dogville, an ominous hamlet somewhere in the Rockies during the Depression. A fugitive (Nicole Kidman) is sheltered and then cruelly exploited by the handful of residents, who include Paul Bettany, Stellan Skargaard, Patricia Clarkson, Ben Gazzara and Lauren Bacall. They pay dearly for their sins, in a mock massacre that serves as the filmmaker’s scornful, loathsome judgment on America. Sitting still for three hours of his scorn requires maddening patience.

• Ella Enchanted (2004) (PG: Fleeting comic vulgarity and sexual innuendo) — **. Another facetious, anachronistic romp with fairytale characters and settings. It is far from faithful to the source material, a popular juvenile novel by Gail Carson Levine. The lovely discovery of “The Princess Diaries,” Anne Hathaway, plays the title character, Ella of Frell, a high-minded maiden cursed with a sense of obedience that makes her potential putty in the hands of domineering types. Her romance with a prince (Hugh Dancy) is threatened by this lingering defect, and the movie teems with gauche and chintzy defects of its own. Nevertheless, the young leads generate an appealing sincerity when the director, Tommy O’Haver, can resist being a barrel of yucks. With Cary Elwes as the prince’s villainous uncle and Minnie Driver as the heroine’s bland-voiced aunt, an ineffectual fairy.

• The Girl Next Door (2004) (R) — A coming-of-age fable with Emile Hirsch as a high school honor student who develops a crush on a slightly older woman — an attractive new neighbor, Elisha Cuthbert, who happens to be a former porn actress.

• The Whole Ten Yards (2004) (PG-13: “Sexual content, some violence and language,” according to the MPAA) — A sequel to the crime farce “The Whole Nine Yards,” in which a dentist played by Matthew Perry came to the assistance of a professional killer, Bruce Willis, who needed to elude gangster boss Kevin Pollak. Mr. Perry now travels from Los Angeles to Baja California, where Mr. Willis and spouse Amanda Peet are in hiding, to urge a rescue mission for his wife, Natasha Henstridge, evidently abducted by minions of Mr. Pollak.

NOW SHOWING

• Dawn of the Dead (2004) (R: Horror style violence, extreme gore and harsh language) — **1/2. The dead rise again as George A. Romero’s 1978 zombie-fest gets a 21st-century upgrade. Indie film darling Sarah Polley and Ving Rhames fight off an army of flesh-eating zombies while hunkered down in an abandoned shopping mall. The remake renews the original’s social commentary but ultimately stumbles over genre cliches. Reviewed by Christian Toto.

• Dirty Dancing: Havana Nights (2004) (PG-13: Coarse language and sexually suggestive material) — **. The producers of this steamy dance drama want to re-create the pop cultural magic of the 1987 source material. “Havana Nights” follows an American teenager (Romola Garai) in pre-revolutionary Cuba falling for, and dancing with, a local boy (Diego Luna). This “Dancing” hardly seems salacious, and it’s friction-free plotting will leave fans of the original waiting only for Patrick Swayze’s fun cameo. Reviewed by Christian Toto.

• Distance (2001) (No MPAA Rating — adult subject matter) — The American theatrical premiere of a Japanese feature about people drawn to an observance of the anniversary of the deaths of 128 Tokyo residents killed when members of a terrorist cult poisoned the water supply. The first in a series devoted to films by Hirokazu Kore-Eda. A limited engagement, through April 15, exclusively at the American Film Institute Silver Theatre. In Japanese with English subtitles. Not reviewed.

• Eternal Sunshine of the Spotless Mind (2004) (R: Occasional profanity and sexual candor) — *1/2. Jim Carrey and Kate Winslet, estranged lovers, have had their memories effaced by a dubious Long Island company, where overnight erasure is inexpertly monitored by a staff that includes Mark Ruffalo, Elijah Wood and Kirsten Dunst, all more amusing than the principals. The second collaboration of screenwriter Charlie Kaufman and director Michel Gondry, this trickily muddled heartbreaker proves a solemn letdown compared to their nutty, unjustly neglected “Human Nature” of 2002.

• 50 First Dates (2004) (PG-13: Cartoon-style violence, crude sexual humor and drug references) — **1/2. “The Wedding Singer’s” Adam Sandler and Drew Barrymore reunite for another unconventional love story. This time, Miss Barrymore plays a single gal suffering from short-term memory loss. Every time she goes to bed, she wakes up forgetting much of the day before. So earnest Henry (Mr. Sandler) has to win her heart again and again. Co-stars include Rob Schneider and Sean Astin. Reviewed by Christian Toto.

• The Fog of War (2003) (PG-13: Intense images of war and destruction) — ***. Documentarian Errol Morris spends quality time with the once-reviled defense secretary Robert McNamara, who recalls his involvement not only in Vietnam but in World War II and the Cuban Missile crisis as well. Often riveting and never as tendentious as one might expect. Oscar winner for best documentary feature. Reviewed by Scott Galupo.

• Good Bye, Lenin! (2004) (R: Brief full frontal nudity, coarse language) — ***. This delightful German import describes the ultimate love between mother and child. It’s East Berlin, circa 1989, and Alex watches in horror as his mother collapses and falls into a coma during a government protest. Alex’s pro-socialism mother sleeps through the Berlin Wall’s collapse, and when she wakes her doctor warns Alex not to expose her to anything that could shock or upset her. So he takes her home and creates a world within their apartment that recreates the government she once held close to her heart. The film’s frothy mix of humor, drama and political commentary almost always hits the mark. In German with English subtitles. Reviewed by Christian Toto.

• Hellboy (2004) (PG-13: “Sci-fi action violence and frightening images,” according to the MPAA) — ***. A fun monster film with heart derived from Mike Mignola’s Dark Horse Comics series. Ron Perlman, in red makeup and tail, plays Hellboy, the malign creation of a mad despot who was salvaged in his youth by a virtuous mentor (John Hurt), who operates a clandestine bureau for paranormal research. Hellboy and colleagues lend their super powers to the protection of mere mortals. With its colossal battles fought against the backdrops of forbidding sewer systems, subways and a mechanized castle, the two-hour-plus opus beautifully displays the dark, gritty world of Mr. Mignola. Mr. Perlman delivers an empathic and humorous performance as the demon who never looks ridiculous as he sands his horns and rescues a pair of kittens. Directed by Guillermo del Toro from his own screenplay. Reviewed by Joseph Szadkowski.

• Home on the Range (2004) (PG: Fleeting comic vulgarity) — **. Disney animators attempt to rediscover the West as a backdrop for tall-tale facetiousness. Three heifers, spoken by Roseanne Barr, Judi Dench and Jennifer Tilly, vow to save their dairy farm from foreclosure by capturing a rustler, Alameda Slim, who uses yodeling as a form of mesmerism. The pretext sounds funny enough, and songwriters Alan Menken and Glenn Slater pitch in with some amusing songs. The prevailing illustrative style errs on the schematic, underbudgeted side, and the farcical set pieces accentuate uproar at the expense of cleverness.

• Intermission (2003) (R: Frequent profanity and occasional graphic violence, often with a facetious twist; occasional sexual candor, with fleeting nudity and simulated intercourse) — *1/2. A comedy of depravity Irish style, so dependent on aggressive louts that it becomes anti-social burlesque. Director John Crowley imposes a bilious, up-close sense of intimacy with characters you may prefer to keep at a distance — preferably behind bars in most cases. But there are some witty and forceful performers in the ensemble.

• James’ Journey to Jerusalem (2003) (No MPAA Rating — adult subject matter, consistent with the R category; occasional profanity; allusions to racial animosity) — **. A muckraking Israeli feature about a pious young South African on a pilgrimage to Jerusalem. He is detained in Tel Aviv for passport irregularities that are never adequately explained. James is rescued by a black market labor hustler, Shimi, who stands his bail in order to add a fresh body to his stable of low-paid workers. Life with Shimi ultimately makes deportation look preferable. Definitely a cynical novelty. A limited engagement, exclusively at Visions Cinema, Bistro & Lounge. Some dialogue in Hebrew and Zulu with English subtitles.

• Jersey Girl (2004) (PG-13: Profanity, sexuality) — **. Writer-director Kevin Smith wants us to know he’s all grown up now with this comedy-melodrama starring Ben Affleck as a former music publicity shark who, kicking and screaming, takes responsibility for raising his daughter (Raquel Castro). Predictable and sentimental but has its heart in the right place. Reviewed by Scott Galupo.

• Johnson Family Vacation (2004) (PG-13) — At long last, the premise of “National Lampoon’s Vacation” revamped for a “typical” black family, with Cedric the Entertainer as the dad and Vanessa Williams as the mom, motoring across country to a family reunion in Missouri. Their children are played by Bow Wow, Solange Knowles and Gabby Soleil. Not reviewed.

• The Ladykillers (2004) (R: Frequent profanity and comic vulgarity; fleeting sexual allusions and racial epithets) — *1/2. A Coen brothers fiasco, derived from Alec Guinness’ great English caper comedy of 1955. The brothers shift the locale to small-town Mississippi, where Tom Hanks as a Southern-fried scoundrel tries to con devout widow Irma P. Hall while hiring a gang to tunnel from the cellar of her home into a neighboring casino. The eccentric battle of wits that elevated the prototype is jawed and bludgeoned out of pleasing proportions; the filmmakers gross out on obscene banter and slapstick while yoking Mr. Hanks to a grandiloquent idiom that deadens the soundtrack. The other felons are played by Marlon Wayans, J.K. Simmons, Tzi Ma and Ryan Hurst.

• The Lord of the Rings: The Return of the King (2003) (PG-13) — ****. Peter Jackson closes the cinematic book in suitably stirring fashion on his triple epic version of J.R.R. Tolkien’s mythological saga about the defenders of Middle Earth. The tenacious heroes return the sinister ring of power to the lava pits of Mt. Doom and defeat the hordes assaulting the mountainside citadel Minas Tirith. A clean sweep of 11 Academy Awards in 11 categories, including best picture and direction.

• Monsieur Ibrahim (2003) (R: Sexuality) — ***. French director Francois Dupeyron’s coming-of-age tale about an abandoned Jewish boy in Paris taken under the wing of a Muslim shopkeeper (Omar Sharif). As a fable of spiritual convergence, the movie is a stretch, but its humor and sensitivity work on a basic human level. In French with subtitles. Reviewed by Scott Galupo.

• Never Die Alone (2004) (R: Gangster violence, drug use, sexual situations, nudity and gore) — **. Rapper DMX stars as a doomed drug dealer seeking redemption for a multitude of sins. His plans get snarled by the very violence that helped fuel his criminal ascent. Director Ernest Dickerson (“Juice”) casts the wrong actor for the main role with DMX, who while chock full of presence can’t illustrate the complexities of the character. The film’s amateurish script and muddy morality make the redemptive notes ring hollow. Reviewed by Christian Toto.

• The Passion of the Christ (2004) (R: Prolonged and graphic violence in a Biblical setting) — **. Mel Gibson places more stock in mortifying the flesh than many of us. Evident as far back as “Mad Max,” this propensity blossomed into a last-act ordeal in his Oscar-winning “Braveheart” in 1995. Now it’s the overwhelming preoccupation and prevailing source of brutal spectacle in “Passion,” Mr. Gibson’s re-enactment of the arrest, abuse and crucifixion of Jesus. There’s not a great deal of Gospel authority for dwelling on depictions of physical torture and suffering on the road to Calvary, but the Gibson emphasis may strike a responsive chord in some believers. Caleb Deschanel’s cinematography and the use of ancient languages give the movie its most haunting evocative aspects. In Aramaic and Latin with English subtitles.

• The Prince & Me (2004) (PG: “Sex-related material and language,” according to the MPAA) — *1/2.An updated romantic comedy about a commoner enamored of a prince, with Julia Stiles as a pre-med student at the University of Wisconsin who falls for a charming exchange student, Luke Mably, before realizing that he’s the crown prince of Denmark. Eventually, she meets his folks, played by James Fox and Miranda Richardson. The cast also includes Ben Miller and Alberta Watson.

• Red Trousers: The Life of the Hong Kong Stuntmen (2003) (No MPAA Rating) — A self-explanatory subtitle, compiled by the Hong Kong action director Robin Shou and tracing the evolution of the film industry’s stunt specialists from young acrobats trained at the Chinese Opera. A limited engagement, exclusively at the Landmark E Street Cinema. Not reviewed.

• Scooby-Doo 2: Monsters Unleashed (2004) (PG: Slapstick violence, mild scatological humor) — **. The computer-animated Scooby and the gang are back, this time fighting a bevy of monsters they first battled during their cartoon series. Mystery, Inc., or the Ghostbusters without any “Saturday Night Live” alum, must solve the riddle behind the monsters’ rebirth. Matthew Lillard’s Shaggy is still the best reason for adults to stay awake through any “Doo” film, and to be fair, “Doo 2” isn’t as insulting as the 2002 original. Reviewed by Christian Toto.

• Secret Window (2004) (PG-13: Horror-style violence, sexual situations and harsh language) — ***. The latest Stephen King adaptation stars Johnny Depp as Mort Rainey, a popular writer struggling through a creative dry spell. Spines begin to tingle when a wannabe writer begins stalking Mort, claiming the established author plagiarized his words. The novella “Secret Window, Secret Garden” isn’t Mr. King’s most inspired tale, but Mr. Depp’s perfectly eccentric performance gives the story plenty of juice. John Turturro and Maria Bello (“The Cooler”) co-star. Reviewed by Christian Toto.

• Starsky & Hutch (2004) (PG-13: Mild profanity, drug humor, sexuality, action violence) — **. Director Todd Phillips, a bepermed Ben Stiller and Owen Wilson have their way with the characters of David Starsky and Ken “Hutch” Hutchinson, the Bay City, Calif., blue boys who fought crime in America’s living rooms for a few years in the late ’70s. As schlocky as the TV series, but funnier. Reviewed by Scott Galupo.

• Taking Lives (2004) (R: Systematic morbid emphasis; graphic violence and gruesome illustrative details; occasional profanity and sexual candor) . Angelina Jolie is introduced as an improbable deductive genius, a profiler from the FBI, and departs as a prodigious chump in this ludicrous murder thriller from D.J. Caruso. Arriving in permanently murky Montreal, the heroine contributes her dishy expertise to the hunt for a long-elusive serial killer. Given a screenplay this demented, there’s no reason he should ever fear capture. With Gena Rowlands as a sinister mom and Ethan Hawke as an eminently suspicious eyewitness.

• The Triplets of Belleville (2004) (PG-13: depictions of nudity and violence; crude humor) — ***1/2. A compact, mostly silent, often creepy animated film crammed with wonderfully grotesque characters and mechanical contraptions from French comic strip writer Sylvain Chomet. A cyclist is kidnapped while competing in the Tour De France, and his taskmaster granny follows his captors to the megalopolis of Belleville, where the Triplets, a trio of singing ladies, spring into action. Reviewed by Scott Galupo.

• The United States of Leland (2003) (R: Occasional profanity, graphic violence, sexual allusions, depictions of drug use) . A pseudo-profound bummer about the impact of a senseless crime on a suburban family in Phoenix. A pensive high school student (Ryan Gosling) slays the mentally retarded kid brother of a classmate (Jena Malone), precipitating emotional anguish and an eventual crime of reprisal. Writer-director Matthew Hoge ends up suggesting that the victims probably had it coming, being privileged specimens with chinks in their armor.

• Walking Tall (2004) (PG:13: Action film violence, sexual situations and alcohol use) — **. The 1973 vigilante hit is recast with a very modern hero (wrestling great Dwayne Johnson, aka the Rock). The erstwhile grappler stars as Chris Vaughn, a former soldier who returns to a home town suddenly rife with corruption. He changes all that with the help of an old pal (Johnny Knoxville) and a trusty hunk of lumber. The film’s populist themes still resonate, but The Rock can’t overcome the film’s aching predictability. Reviewed by Christian Toto.

• Wilbur Wants To Kill Himself (2004) (R) — .The first English-language feature from Lone Scherfig, the Danish director of “Italian For Beginners.” A bookstore owner in Glasgow named Harbour (Adrian Rawlins) is trying to protect his despondent kid brother Wilbur (Jamie Sives), who has failed at half-hearted suicide attempts. Wilbur is infatuated with a customer named Alice (Shirley Henderson), but Harbour is the more plausible suitor. He and Alice marry and she moves in with her young daughter. Miss Scherfig collaborated on the screenplay with Anders Thomas Jensen.MAXIMUM RATING: FOUR STARS