BABY BOY (R) Boyz N the Hood director John Singleton returns to his old stomping ground with the story of a 20-year-old African-American (Tyrese Gibson) who refuses to grow up despite being a father of two. Boasting a pertinent theme and the imposing presence of Ving Rhames, Baby Boy suffers from Singleton's naggingly repetitive script, unpolished performances and contrived violence at the end. --CH
CRAZY/BEAUTIFUL (PG-13) Set at Pacific Palisades High, the story focuses on a poor Latino boy (Jay Hernandez) who falls for a troubled girl (Kirsten Dunst) from the affluent neighborhood, and the ensuing complication of that culture clash and relationship. Directed by John Stockwell, written by first-time screenwriters Phil Hay and Matt Manfredi.
THE ROAD HOME 1/2 (G) His father's death prompts a narrator to recall the story of his parent's courtship in a remote Chinese village in a nostalgic, bittersweet film by China's Zhang Yimou, one of the living masters of color and composition. Crouching Tiger's Zhang Ziyi plays the young mother-to-be in a simple, poetic story with one gorgeous rural image after another. -- CH
SEXY BEAST (R) A stylish debut from video director Jonathan Glazer, this story of a gangster (Ray Winstone) whose idyllic retirement in Spain is interrupted when his psychopathic boss (Ben Kingsley) demands he perform one more heist has attitude to burn, though its two poorly fitted acts and smug slavery to flashiness makes it feel more like a popish flash in the pan than enduring filmmaking. -- FELICIA FEASTER
SONGCATCHER Winner of the Ensemble Cast award at the Sundance Film Festival, SongCatcher takes place in the Appalachian mountains of 1907. A musicologist (Janet McTeer) is there to record the Scottish and Irish folksongs that the locals have preserved for generations. Soon, she finds herself getting involved in other ways, including helping them with their struggles with the coal mining companies, and the friend she finds in a local musician (Aidan Quinn). Directed by Maggie Greenwald.
BEST IN SHOW (PG-13) Mockumentarian Christopher Guest reunites his Waiting for Guffman collaborators (including Eugene Levy, Parker Posey and Catherine O'Hara) for a similar venture about the eccentric participants at a national dog show. A bit disappointingly, Guest and company rely on easy targets (tacky middle Americans and fatuous city dwellers) but also show a surprising affection for canine pageants and their four-legged contestants. Showing at the Coca-Cola Summer Film Festival at the Fox Theater, Sunday, July 2 at 8 p.m. -- CH
THE CONFORMIST (1970) A collaboration between director Bernardo Bertolucci and cinematographer Vittorio Storaro. Marcello (Jean-Louis Trintignant) is an aristocrat determined to prove his allegiance to the Fascist cause. Films at the High. June 27 at 8 p.m. in the Woodruff Art's Center Rich Auditorium.
GODZILLA FESTIVAL Georgia State University's cinéfest celebrates vintage Godzilla with screenings of Godzilla on Monster Island (1972), Terror of Godzilla (1975) and Godzilla vs. the Cosmic Monster (1974) through June 28. At GSU's cinéfest.
A PATCH OF BLUE (1965) This sensitive melodrama snared an Oscar for Shelly Winters. She plays the Mommy Dearest of an 18-year-old blind girl (Elizabeth Hartman) who, unaware of his skin color, falls in love with a black businessman (Sidney Poitier). Bring tissues. Screen on the Green, June 27 at sunset at Piedmont Park.
THE ROCKY HORROR PICTURE SHOW (R) The cult classic of cult classics, the 1975 horror spoof follows an all-American couple (Susan Sarandon and Barry Bostwick) to the castle of Dr. Frank-N-Furter (Tim Curry), a drag-queen/mad scientist from another galaxy. It's all fun and games until Meatloaf gets killed. Dress as your favorite character and participate in this musical on acid. Fridays at midnight, Lefont Plaza Theatre, 1049 Ponce De Leon Ave, and Saturday at midnight at Blackwell Star Cinema, 3378 Canton Road in Marietta.
SPIKE & MIKE'S SICK & TWISTED FEST 2001 A collection of gross cartoons that are really funny. Low brow, juvenile, and sick equals quality entertainment. June 29-July 5 at GSU's cinéfest.
WE ALL LOVED EACH OTHER SO MUCH (1974) This spirited comedy centers on three pals who fall for the same woman. Psychological insight and political awareness mark Ettore Scola's loving homage to Fellini. Italian Summer Festival at the High. June 29 at 8 p.m. in the Woodruff Arts Center, Rich Auditorium.
ZU: WARRIORS OF THE MAGIC MOUNTAIN (1983) This eye-popping, special-effects-laden Asian fantasy is a real feast for the eyes. Starring Yuen Biao as a soldier who, fed up with the constant and seemingly pointless civil war, deserts his platoon only to find himself caught in another battle filled with action and bizarre magical occurrences. June 29-30 at midnight at GSU's cinéfest.
DAHLONEGA INTERNATIONAL FILM FESTIVAL Screening 153 underground, under-appreciated and many brand new works in film and video, with 18 Countries represented in 82 programs. June 28-July 1. Screenings are $5. The Holly Theater, 69 West Main St., Dahlonega. See the festival schedule at www.D-I-F-F.com or call 706-864-3759.
AMORES PERROS 1/2 (R) A trio of stories set in a dystopian Mexico City revolve around a life-altering car crash in Alejandro Gonzalez Inarritu's gripping first feature more indebted to the indie free-styling of Tarantino than the art film legacy of Bunuel. --FF
THE ANNIVERSARY PARTY 1/2 (R) Jennifer Jason Leigh and Alan Cumming wrote, directed and star in this zeitgeisty psychodrama of a hip Hollywood couple and their high-powered friends who find their evening of celebration turning into an Ecstasy-fueled meltdown where clothes come off, truths get told and everyone undoubtedly wakes up with an ugly "what did I say?" hangover. Though there is plenty of emoting on display, the film often feels like a keyhole glimpse into the reality of life in a Hollywood fishbowl, as well as the more universal anxieties about faithfulness, aging, children and career. -- FF
BRIDE OF THE WIND (R). Bruce Beresford's biopic of Alma Mahler (Sarah Wynter), wife of composer Gustav Mahler (Jonathan Pryce), views its subject as the inspiration and obsession of a generation of Viennese artists. Yet Wynter gives only a life-sized performance for this larger-than-life personality, who seems less like a feminist martyr and icon and more like an early 20th-century groupie. At least the period photography and sound are nice. --CH
THE FAST AND THE FURIOUS 1/2 (PG-13). This loud, overblown B-movie about illegal street racing goes nowhere but gets there fast. Director Rob Cohen offers a handful of nail-biting set pieces, particularly the opening race and a climactic truck chase a la The Road Warrior. But though Vin Diesel makes a magnetic lead, Furious is bumper-to-bumper with bad dialogue, poor logic and clichéd characters. -- CH
THE GOLDEN BOWL 1/2 (R). The Merchant-Ivory filmmaking team has less success with Henry James' novels than they do with the work of E.M. Forster. Regarding a pair of penniless lovers (Uma Thurman and Jeremy Northam) who marry a wealthy father and daughter (Nick Nolte and Kate Beckinsale), the film's limited performances and heavy-handed symbolism keeps you from empathizing with the characters. --CH
KINGDOM COME (PG) Soul Food was just an appetizer for this African-American family comedy that brings a dysfunctional brood together to bury their patriarch. Whoopi Goldberg plays it almost straight as the widow while Loretta Devine takes comic honors as her ever-praying sister-in-law. Goldberg's sons, LL Cool J and Anthony Anderson, are in troubled marriages (to Vivica A. Fox and Jada Pinkett Smith) but no problems are too big to be resolved neatly for a feel-good ending. The actors and most of the script make up for technical shortcomings in the funniest funeral since Chuckles bit the dust. -- SW
LARA CROFT: TOMB RAIDER (PG-13) This picture has its strong points, including a perfectly cast protagonist and a couple of set pieces that deliver the goods. But the story! Did it really take six people to come up with this malarkey? The script concerns itself with Lara's involvement with a shady cabal that seeks to control the world by gaining possession of a mystical medallion with the power to turn a mere mortal into a god. Viewers expecting wall-to-wall action will be surprised that a great chunk of the running time is filled with dull chitchat. --MB
PANIC (R). William H. Macy plays a hit man seeking therapy and escape from the family business in Henry Bromell's quiet character study that's not really a thriller nor a black comedy. Macy's indelible portrait of mid-life crisis gets fine support from Donald Sutherland, Neve Campbell and especially Tracey Ullman and child actor David Dorfman. --CH
STARTUP.COM (PG). Documentary filmmakers Jehane Noujaim and Chris Hegedus trace the rise and fall of short-lived Internet company govWorks.com with a remarkable, fly-on-the-wall proximity to the partnership and strained friendship of the company's founders. But it leaves significant details about the business unexplained and offers no context about the Internet itself. -- CH
THE TAILOR OF PANAMA Pierce Brosnan wickedly sullies his 007 image as a sleazy, womanizing intelligence agent who enlists a fraudulent tailor (Geoffrey Rush) to spy on Panama's ruling elites. The adaptation of John LeCarre's novel weaves a complicated pattern of broad satire, serious political commentary and knotty character study, but director John Boorman loses his grip on the different threads, offering a weak, unconvincing ending that undercuts the film's otherwise provocative originality. -- CH
WHAT'S THE WORST THAT COULD HAPPEN? 1/2 (PG-13) This loose adaptation by Matthew Chapman, of Donald E. Westlake's novel finds both Martin Lawrence and Danny DeVito doing their patented schtick -- yet both doing it well. Lawrence stars as Kevin Caffey, a thief whose new girlfriend (Carmen Ejogo) presents him with a good-luck ring; DeVito plays Max Fairbanks, a slimy billionaire who strips Kevin of the ring after Kevin breaks into his house and gets nabbed by the cops. The rest of the picture deals almost exclusively with Kevin's efforts to retrieve the ring (in the process ruining Max's life), and screenwriter Matthew Chapman frequently finds clever ways to build on this one-note notion. -- MB
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