Val Waxman (Allen) was big-time movie director in 1970's and 1980's but is washed up now and just gets commercial directing jobs. He gets another chance at a directing a big film but goes temporarily blind from paranoia. Instead of losing the job, Val and his friends try to make the movie without the executives finding out about the blindness.
The luminous Cate Blanchett (Elizabeth, The Lord of the Rings) stars as a British teacher living in Italy who's driven to plant a bomb on a drug dealer in cahoots with the police. When she is arrested and interrogated, she learns that her bomb went awry and killed four innocents; a young policeman (Giovanni Ribisi, Saving Private Ryan) is so struck by her grief that he falls helplessly in love with her and throws aside his entire life to help her.
From the director of Dude, Where's My Car? comes another crazed tale of two friends on a perilous quest--in this case, to eat burgers at the fast food restaurant White Castle. The pair--repressed Harold (John Cho, Better Luck Tomorrow) and freewheeling Kumar (Kal Penn, Love Don't Cost a Thing)--get extremely high and set off on the road, only to be sidetracked by skateboarding hooligans, racist cops, an inbred tow truck driver, and Neil Patrick Harris--yes, Doogie Howser, M.D.
Oklahoma, 1873. Jed Cooper, mistaken for a rustler and killer, is lynched on the spot by crooked lawman Captain Wilson and a rampaging band of vigilantes. But as Wilson and his gang flee the scene, there's one very important detail they've overlooked: Cooper is still alive! Saved in the nick of time by a sheriff, Cooper takes on the job of deputy marshal in order to bring hard-handed justice to the Oklahoma territory... and to the nine men who "done him wrong."
Halloween is as pure and undiluted as its title. In the small town of Haddonfield, Illinois, a teenage baby sitter tries to survive a Halloween night of relentless terror, during which a knife-wielding maniac goes after the town's hormonally charged youths. Director John Carpenter takes this simple situation and orchestrates a superbly mounted symphony of horrors. It's a movie much scarier for its dark spaces and ominous camera movements than for its explicit bloodletting (which is actually minimal).
Gremlins is a whee of a film (if you don't mind the occasional gross-out) from producer Steven Spielberg, writer Chris Columbus, and director Joe Dante. Zach Galligan is the young man whose inventor father (Hoyt Axton) gives him an odd Christmas present: a tiny, furry creature that comes with a set of rules: don't get him wet, don't feed him after midnight, and keep him away from direct sunlight. But Galligan breaks the first rule and the damp little critter pops out a dozen little offspring.
Cars fly, trees fight back and a mysterious elf comes to warn Harry Potter at the start of the second year of his amazing journey into the world of wizardry. This year at Hogwarts, spiders talk, letters scold and Harry's own unsettling ability to speak to snakes turns his friends against him. From dueling clubs to rogue Bludgers, it's a year of adventure and danger when bloody writing on a wall announces: The Chamber of Secrets has been opened. To save Hogwarts will require all of Harry, Ron and Hermione's magical abilities and courage in this spellbinding adaptation of J.K.
After the worldwide success of A Hard Day's Night, the Beatles and director Richard Lester reunited for a follow-up film, Eight Arms to Hold You. Well, that wasn't the final title; a pleading Lennon-McCartney tune provided the catchier handle: Help! A loose semispoof of the globe-trotting James Bond pictures, Help! has always been considered a somewhat disorganized comedown from its predecessor; but it presents "the famous Beatles" even more clearly as the English cousins of the Marx Brothers.
This collection of satirical sketches about television was released in 1974, the heyday of obvious pop-culture humor along the lines Cheech and Chong. With Saturday Night Live still a few years away, Chevy Chase made an appearance here, and one can see the acute sensibility that would redefine television comedy in its early form. Some of the gags work well but most are pretty dispensable; some are a bit crude. On the plus side, it's nice to see Richard Belzer (from TV's Homicide) in his sharp-tongued, formative stage.
The more you know about the Civil War, the more you'll appreciate Gods and Generals and the painstaking attention to detail that Gettysburg writer-director Ronald F. Maxwell has invested in this academically respectable 220-minute historical pageant. In adapting Jeffrey Shaara's 1996 novel (encompassing events of 1861-63, specifically the Virginian battles of Bull Run, Fredericksburg, and Chancellorsville), Maxwell sacrifices depth for scope while focusing on the devoutly religious "Stonewall" Jackson (Stephen Lang), whose Confederate campaigns endear him to Gen. Robert E.
