National Treasure. Nicolas Cage, Jon Voight, Harvey Keitel, Sean Bean. Nicolas Cage has lost his boyish looks and plays a more subdued and vulnerable character, here (think "Nicholas Cage Lite"); but the whole film is a little like that, a lighter version of the standard hard-core PG-13-rated action adventure movie. The plot is simple: a treasure hunter (Cage) and his crew set out to steal the Declaration of Independence in order to save it from Cage's former partner, Sean Bean, who is willing to destroy the priceless document in order to discover its secret map, hidden on the back and, if necessary, to kill those who would get in his way. This is an old-fashioned treasure hunt in a modern guise, though the film still manages to keep the classic tradition of endlessly burning torches and dark cavernous chambers alive. Beyond the virtue of being a clean, entertaining film, there may also be some real value in sharing this film with the younger generation, who will be exposed to a good deal of talk about our founding fathers and the icons of our national treasures. The story takes us to Washington, D.C., to the Lincoln and Jefferson Memorials, Library of Congress, and the National Archives, where the country's founding documents are housed; and to Philadelphia, the Liberty Bell, Independence Hall, and Trinity Church, which are all part of the trail laid out by the treasure map. In the process, Cage recounts the history and value of the Declaration of Independence; and we get a sense of just how important and valuable it is to our heritage. Still, this is an adventure, set forth since the times of the Knights Templar, and of the early Masons, who for centuries have kept hidden a vast treasure and concealed its location through a line of agents going back to Benjamin Franklin. (While Masonic imagery is used as visual clues throughout the movie, there are no spiritual overtones; just iconography that could have come from anywhere; so those sensitive to Christian issues and Masonic practices won't find any hidden messages here.) Discovering the treasure has been the obsession of Cage's family forebears for generations, though Cage's father, Jon Voight, has by now decided it was all a hoax and has abandoned the search. But does the treasure really exist? Watch to enjoy a clever (and even "educational")  heist/treasure-hunt and adventure film, suitable for old and young alike. (There are guns, bad guys, shootings, and action chase scenes, involved, however, that earn it a PG rating.) (Reviewer — G. P.)

The Notebook (PG-13). Gena Rowlands, James Garner. A love story: Rich daughter takes up with poor boy in the south; their relationship is complicated by her disapproving wealthy parents. She is sent off to college where she meets a young man of means, and must ultimately choose between a life with him and the life of a working man, her first love. Though separated by circumstances and war; she continues to keep a diary; and in old age,  James Garner¹s character reads her life-story back to her to try to help her remember through the fog of her Alzheimer's. This is a nicely constructed movie, but be aware that there are several quite sexually elevated scenes, showing the young lovers' passion for each other. They¹re filmed in good taste, but could be uncomfortable to watch for some viewers and would not be appropriate for children. In other words, despite the appearance of being a film simply about aging adults and their fireside retirement, most of the movie takes place in the early days of the couple's romance and is not shy about making their passion for each other apparent. It is, however, a nicely made film about being true to one's personal values, making hard choices, faithfulness, and the painful reality of facing death in old age. A final caution: several climactic scenes take a sudden and dramatic turn on screen and could be very disturbing to viewers who are experiencing similar situations in their own families. So, despite its critical and well-deserved acclaim, the choice to watch it should be made with this in mind. (Reviewer — G. P.)

O Brother, Where Art Thou? Portrayed as a light comedy about three chain gang escapees in the 1920s - 1930s who run to freedom and an unlikely fortune as old-time bluegrass/gospel singers, this typical Cohen brothers creation makes light of the gospel of Christ, the baptism of believers, the redemptive work of Christ, and the sanctity of the Word of God. Not just once or twice, but as a whipping post throughout the movie. Based on Homer's Odyssey, it is peppered with clever take-offs, from the Sirens to the Cyclops (played by John Goodman). The cast is stellar (including George Clooney, John Tuturro, Charles Durning, and Holly Hunter), and so is the soundtrack, a collection of Southern gospel and bluegrass. Unfortunately, no Christian should be able to sit in front of this movie without turning it off or feeling physically ill. If the jokes at the gospel's expense don't send your thumb seeking the "off" button, the language will. There is also so much profanity in this movie that it probably could never be edited for television. Stay clear. Rated R. (Reviewer—H. L.)

Oceans Twelve. Brad Pitt, Catherine Zeta-Jones, George Clooney, Julia Roberts, Don Cheadle. Following "Oceans Eleven," this sequel reassembles the old gang of thieves, plus one, with the goal of pulling an even bigger series of heists, not in Las Vegas this time, but in Europe. However, the writers begin the film with little more than a "wink-wink" to the previous movie, leaving viewers with the sense that what they are seeing on the screen is an inside joke: The characters seem to be having fun — at our expense. As a result, not just the beginning, but the entire moving remains aloof and confusing. So if you didn't see "Eleven," you won't  know what's going on. And even if you did, you still may not be able to follow the overly contrived plot. Oddly enough, however, this is one of the cleanest movies to hit the Hollywood screen lately. There are but a couple early instances of swearing, and then nothing objectionable, either with respect to language or sexuality (there is none) except for the dull drudgery of watching a large ensemble cast sharing snippets of screen-time. The only interesting on-screen character is "the Night Fox," a very-European master-thief, who takes a bet that he can out-do the American thieves; his slinky, inventive yoga-acrobatics may be worth the price of the rental; but be prepared for a lot less from the all-star cast of the Hollywood elite. Otherwise, this movie is, in a word, boring, with a plot that leaves you shaking your head, thinking, nah, that doesn't work. The story line is completely unconvincing and lacks all preparation or explanation sufficient to sell the story. Manipulating viewers in order to display Hollywood screen icons is annoying. Someone should apologize. (Reviewer — G. P.)

October Sky. A thoroughly enjoyable movie. A young boy growing up in a mining town in West Virginia in the 1960s decides to learn to build a rocket after seeing the first U.S. shuttle fly overhead on a crisp summer evening. But how do you learn to build a rocket — let alone come up with the necessary components — to build it in a poor mining town? The main character's vision, dedication, and plans for his future create tension with his father, the foreman of the local coal mine who expects his son to take over after him. From the struggles of growing up in town where all of the men expect to die of black lung disease by the age of 40, to the maturing of relationships among friends and families, to the triumph of accomplishment, it is an entertaining story for adults and children that will leave you cheering at the end. (Reviewer—H. L.)

1/2 Open Range.  Kevin Costner finally stops taking himself so seriously and relaxes into the role of an old-fashioned cowboy, while both directing and starring in this big-sky Western, supported by the flawless performance of Robert Duvall. One caution, however: Duvall’s character uses the Lord’s name in vain a number of times, and even calls God a vulgar name, revealing his bitterness about the death of a murdered friend—and, earlier in his life, the deaths of his wife and daughter. It’s hard to hear, but it’s in character for this man who is living “outside of civilization,” and alienated by the tragic loss of his family. Based on the book, the film slowly works its way into the plot, deliberately prolonging the inevitable “shoot-out at the OK corral” between the open-range cattle grazers and the local land baron out to destroy them. Blend “Legends of the Fall” and “Matewan” and you get the general flavor of the film. And it is violent, though not gratuitously bloody. Still, this is strictly for adults who don’t mind a full-blown, intensely real confrontation between men who shoot each other to death with violence and without mercy. But this is also Hollywood, so along the way Costner falls in love with a beautiful, eligible woman, played by Annette Bening, who, true to the code of the West, is treated with the most gentlemanly respect. Costner’s interactions with her are strictly “G-rated.” A effective blend of the peaceful life on the open range and the violent life in the old West, this is a memorable movie for viewers who can tolerate the prolonged, violent gun battle that is the focus and climax of the film. (Reviewer — G. P.)

The Pacifier. PG. Vin Diesel, Brad Garrett. Give Disney Films credit for trying on this one. It's clean and good for all ages.  But it's also deadly dull and painfully awkward for the first half hour until the appearance of Brad Garrett (from TV's "Ramond"), who rescues the movie in mid-stream. He's very funny as a high school vice-principal and wrestling coach, who challenges Vin Diesel to a duel on the mats, having earlier improvised some very funny put-downs. So, he steals the show. Otherwise, Vin Diesel is stiff and barely articulate; the "family" of kids artificial; and the dialogue weak, even by the lowest of television standards. The plot (a secret weapon technology must be found before the bad guys get their hands on it) is awkwardly wedded to the basic gag that puts a tough Navy SEAL into the role of babysitter: Vin Diesel must learn to change diapers and guard the household at the same time. Younger teens might find it moderately entertaining. But don't expect the same of adults. (Reviewer — G. P.)

The Painted Veil. Based on a Somerset Maugham novel. This is a good film, if rather depressing. A socialite marries a civil servant, a doctor, to spite her mother. He carts her off to remote China/Shanghai to get her away from an adulterous relationship; there, he volunteers both himself and his wife to go to a village suffering from cholera outbreak. Themes of marriage, infidelity, self-sacrifice. But don't expect a happy ending. (Reviewer—G.P.)

The Patriot. Although this movie is rated R, it is a powerful movie that should not be missed by adult viewers. Mel Gibson portrays a colonel during the Revolutionary War who is torn between his duty to serve his country during the war and his intense desire to protect his family after the death of his wife. This movie is strongly supportive of our country's Christian heritage, and biblical values run as undercurrents throughout. The "R" rating comes from the violence, but these scenes are tastefully handled and appropriate in the context of the Revolutionary War. There is one particularly violent scene that, by itself, merits the R rating, but it is brief and not gratuitous. For adult viewers, this is a definite "must see." Rated R. (Reviewer—H. L.)

Paycheck. Think "Bourne Identity Lite." A rather choppy and at times under-developed plot involves a high-tech reverse engineering scheme by a disreputable company that employs Ben Affleck to produce highly secret new technologies and then erases his memory to protect them. Fans of futuristic tech and espionage movies will like this one, but Affleck and Uma Thurman seem almost disinterested at times and simply could have phoned-in their performances. This is perhaps due to a weak script that is upstaged and overwhelmed by heavy-handed pyrotechnics and special effects action. Only one early instance of using Jesus’ name in vain mars the otherwise clean and non-offensive dialogue; after that, the movie is completely free of offensive material, though there are lots of dramatic explosions, fight and shooting scenes throughout. By filmmaker John Woo ("Face Off," "Mission Impossible II," "Windtalkers"), "Paycheck" is a somewhat predictable but reasonable way to spend a couple of hours with a clean and moderately entertaining action flick. Rated PG-13. (Reviewer — G. P.)

Pearl Harbor. This 3-hour remake of the events surrounding the attack on Pearl Harbor features a star-studded cast (Ben Afleck, Josh Hartnett, Alec Baldwin, John Voight, Dan Ackroyd) and explosive special effects, but despite the hype, it is not a very good movie. The first half is more daytime soap opera than history, culminating in a love triangle that is as irritating and unbelievable as it is unnecessary. The writing isn't outright bad, but it is flat and doesn't leave you caring much about the characters. Never is the Japanese reasoning for the attack well explained, and what explanation is given comes in fast-moving subtitles that blend in with the background of the frame, making them difficult to see. The war scenes are intense, but the over-use of computer animation is distracting, often leaving the viewer wondering if this is a movie or a video game. In the final scenes, the movie may or may not grab you in spite of itself, but after 182 minutes, any genuine viewer involvement is welcome. The movie is rated PG-13 for violence, "some" language, and one scene in which sexuality is implied. All of the language is reserved for taking the Lord's name in vain, and it isn't as occasional as the movie box would imply. If you want to relive Pearl Harbor, rent the National Geographic documentary. Rated PG-13. (Reviewer — H. L.)

Phantom of the Opera.  (PG).  Beautifully and lavished filmed, this film adaptation of the classic love story may prove to be a bit too-rich for the senses,  as viewers are immersed in the dark and ominous storyline: The jealous  "Phantom," a disfigured musical genius hiding out in the Paris  Opera House, falls in love with his young operatic protégé, the elegant  Emily Rosin and haunts the gothic opera hall by lurking about in the shadows of its cavernous catacombs, threatening its patrons with violence and demanding perfection of its performers and respect for his authority. Rosin plays her role as the emotionally vulnerable star of the stage with elegance; but the baroquely appointed setting, saturated in rich color and elaborate costumes, much of the time overwhelms the actors.  There are some violent scenes—a man dropped from the scaffolding and hanged; sword fights and intensely threatening encounters between the characters. Beyond that, as an outsider to this genre, I can only say that the promise of grand music and theatrical drama in a rich theatrical setting are fulfilled so  completely as to be exhausting in this more than two-hour film. If you have just a casual curiosity about it, it may prove cloyingly over-wrought. Knowledgeable viewers are likely to enjoy it more, however. So the choice of whether to enter this dark world of unrequited love and revenge may rest solely on the level of interest you bring to it. But like a super-rich desert, this one is perhaps best left for the connoisseur. Objectionable language or sexual content are not issues for this film. (Reviewer — G. P.)

Pirates of the Caribbean: The Curse of the Black Pearl. This is old-fashioned swashbuckling fun in a modern guise. Most viewers from the early teens and up can sit back and smile as Johnny Deep plays a bizzarely theatrical pirate who battles over treasure and helps his friend to win the girl. Played with tongue-in-cheek humor, this movie doesn’t take itself too seriously, but offers clean entertainment that lacks the usual offensive language and content problems of most current films. Not all viewers may appreciate the visuals, though, since the pirates are at times shown to be gory, skeletal corpses—seen in their true guise, however, only when they’re in the moonlight. But it sounds much worse than it is; and despite my original reservations about watching the film, I came away smiling. Somehow it works, probably because of the comic environment. There’s romance and adventure on the high seas. And a couple of hours of pleasing entertainment, if you don’t mind a good bit of sword-fighting and an occasional bit of very modest instances of bloody-injuries that result. Not your grandmother’s cup of tea, certainly; but if your teens bring it home, make some popcorn and relax. You might want to watch it too. Rated PG-13. (Reviewer —G. P.)

1/2 Pride and Prejudice. (G)  Good for all ages, all audiences. It's Jane Austen, so it begins rather tediously, and the director lingers too long on the early societal settings, but stick with it. The story slowly draws you in to a world of social pride-and prejudice--exploring the deep flaws of a society built on wealth and privilege, where romantic love must be restrained and where women must find a way to survive when they have no means to do so. Good drama. Good lessons. Good film. (Reviewer — G. P.)

 1/2 Proof. (PG-13) Despite being largely overlooked by the awards critics, this is quite a powerful movie, well-worth the cost of a rental. It may, however, leave you a bit unsettled because of the nature and complexity of the story. Based on a Broadway play, the film tells the story of a Chicago-based math genius (Anthony Hopkins) and his daughter (Gwyneth Paltrow), who gives up her life as an aspiring math student to care for her father when he becomes ill with schizophrenia. When the older sister arrives from New York, the fault lines in the foundations of their relationship grow ever wider, complicating an already difficult situation. There are a couple of instances of swearing (uttered well within the context of the heat of the moment) and one muted sexual scene. A companion piece to "A Dangerous Mind," "Proof" is told with intensity and focus and is a thoughtful and satisfying piece of quality movie-making. A good film for the right audience. (Reviewer — G. P.)

Proof of Life. Meg Ryan and Russell Crowe star in this thriller about a woman whose husband is kidnapped by rebels in a Third World country. When she contacts his company, she discovers that that it has allowed its K&R insurance (kidnap and rescue) insurance to lapse, leaving her husband dangling in the hands of rebel fighters. An attack of conscience brings Russell Crowe, kidnap and rescue operative extraordinaire, back to help the couple just in time. As a thriller, this movie is "eh," and the profanity is excessive. There is no sexual material, but the first half hour or so appears to have been funded by cigarette companies (see Meg Ryan smoke, see Meg Ryan swish her cigarette around, see Meg Ryan give someone else a cigarette) and the implied emotional bond that grows between Ryan and Crowe is poorly done and, frankly, irritating. Sometimes the ending of movies is worth slugging through the rough spots, but not this time. The most interesting aspect of this movie is seeing how K&R insurance operatives negotiate the release of hostages and risk their lives to bring them home. After all, who knew there was insurance for this kind of thing? Still, wait for this one to come on TV. Rated R.

1/2 Racing Stripes. An orphaned Zebra that wants to grows up to be a "racing horse"? Improbable, but it's general entertainment that, depending on your tolerance for barnyard-humor and schoolyard put-downs, is suitable for most general audiences.  Younger children won't get the subtext of adult references, however -- a pelican from New Jersey with a checkered past as a mob hit-man, a midnight outlaw racing event, puns, and bully-language.  Adults won't find much beyond this surface dialogue to hold their interest. But the animals are cute, the thoroughbred horses are beautiful; and there's a 16-year-old girl who loves the Zebra, a father and daughter who are healing from the loss of the mother, and action scenes of beautiful horses and pratfall jokes with talking animals. It's rated PG-13 because of some of the crude dialogue, familiar to some as grade-school humor, with references to barnyard life, anatomical body parts, and name-calling. Also, some "threatening" situations, such as the bigger horses teasing and intimidating the little Zebra, which at one point leaves him lying on the ground unconscious, could be upsetting to the youngest of children. Otherwise, there's little plot beyond the events leading up to the climactic race. It's eye-candy for little kids, occasional gags for the older ones, a feel-good story for adults, and predictable. Talking animals may not be your thing, so you may want to sneak off to do something else while the movie finishes up. The older kids will be fine. Perhaps the best content on the DVD is in the Extras, which show how the animals are made to talk by way of computer composites and how they are trained to get the desired action; but the outtakes and deleted scenes have language that is even cruder than what was left in the final cut. (Reviewer — G. P.)

Radio. Cuba Gooding Jr., Ed O'Neill, Deborah Winger. This is a wonderful film that will leave you cheering. From start to finish, it's sweet, believable, and completely satisfying. Based on a true story, this is a film about how a retarded boy called "Radio," played by Cuba Gooding Jr., transforms the hearts and minds of an entire community after the local football coach takes him under his wing. The DVD contains scenes on the making of the film that allow viewers to get to know the real Radio, who was brought to the attention of the movie industry by a feature-length story in Sports Illustrated. Some mild swearing, but very minor in the larger scheme of the movie. This is a funny, heart-warming film that affirms what is truly important in life. Wholeheartedly recommended for the entire family. (Reviewer — H. L.)

Remember the Titans. It is rare to find a movie that can be recommended with no reservations. This is such a movie. Denzel Washington plays a black football coach who is unexpectedly transferred to an all-white school during the early days of integration. Not only must he take on the challenge of a formerly all-white team now facing the integration of many black players, but he needs the support of the well-loved former coach who has now been put on the sidelines. Facing opposition from within as well as without, Washington ultimately wins the respect of his team and its former coach with his wit, skill, and integrity. This is a well-made movie. Based on a true story, it is smart and funny, with nothing to offend. Although it is rated PG for language, frankly, I don't remember any. (Reviewer—H. L.)

Road to Perdition. This is a well-made film, slow and deliberate, a thoughtful look at the relationship between a man who works for a mob-don and kills for a living (Tom Hanks) and his young son, who idolizes him but who learns the truth one day about what he does. Set in the days of prohibition and the ruthless brutality of gangland ethics, this is a dark film with scenes that would be upsetting to viewers not wanting to be confronted by their violence, both explicit and implied. Hanks does a good job of displaying the conflict he feels between his role as a father who must support his family but who fears that his son may follow in his footsteps. Told from the young boy's point of view, this film is for serious adults able to tolerate some occasional rough language, violent gunplay, and (in a couple of instances) graphically bloody images. Even so, it's tastefully filmed and somehow manages to stick with you, largely due to Hanks' and the boy's effective and poignant portrayals of their characters. Rated R. (Reviewer — G. P. )

Rollerball. Starring Chris Klein, LL Cool J. The only reason this reviewer decided to rent this movie was because it was directed by the same person who directed Diehard. But love of a good action movie overpowered gut-instinct, and now, for the first time, I will foretell the future: If you are a Christian and ignore this review and attempt to watch Rollerball, you will turn it off within 30 minutes, repent, and say "Dave was right." Rollerball’s aim is at nothing more than a teenage boy audience, which, unfortunately, may like this movie, although teenagers should not be allowed to view it due to nudity. Stupid lines, stupid plot, and stupid me for spending the four bucks. (Reviewer—D.B.)

The Rookie. Starring Dennis Quaid. While "The Rookie" is completely consistent with and supportive of Christian values, the only objectionable aspect of the movie is that it might put some viewers to sleep. Based on a true story, the main character, a husband and father of young children, is a high school teacher and baseball coach who has given up on his hopes of playing in the big leagues after suffering a shoulder injury early in his pitching career. But he is challenged by his players to make a try for it one more time. A good premise, but the movie is slow to get going. Nevertheless, die-hard baseball fans (as well as fans of the slow-moving, sweet movie genre) will enjoy it, and the theme that sometimes great dreams can come true is for everyone. With a reconciliation between father and son as a bonus, this is a feel good film suitable for all ages. Rated G. (Reviewers G. P., H. L.)

Runaway Jury. This is a pretty good film. Clean and intelligent, and it will keep you wondering about the outcome until the very end. Based on a John Grisham novel, the movie sets a group of powerful gun manufacturers against a plaintiff whose husband has been killed in an office shoot-out. Though some of it occurs in the courtroom, the real drama takes place outside, where jury selection takes the form of high-tech analysis of each juror’s likelihood of rendering a predictable verdict. When the outcome is in doubt, analysis spills over into sinister intimidation. At the same time, John Cusack and Rachel Weisz are negotiating with both sides, offering to guarantee a verdict to the highest bidder. It’s a complex plot (and sometimes difficult to follow), supported by a great cast and convincing performances from Gene Hackman, Dustin Hoffman, and John Cusack. One warning, however: as tempers flair and in the heat of the moment, there are two or three instances of swearing, and there is a pretty violent fight scene. Otherwise, this is the cleanest dialogue and most sexually-free film you might expect ever to see these days coming out of Hollywood. Sit back with your adult family or friends, and enjoy trying to predict the outcome, yourself! PG 13. (Reviewer – G. P.)

1/2 Sahara.  (PG-13).  Matthew McConaughey, Penelope Cruz, Steve Zahn. Filmed on location in real desert conditions, the appeal here is to pure action and adventure, with a touch of comedy on the side. Based on a pulp-novel series featuring the action hero "Dirk Pitt," this is a clean film, with no language or sexuality issues. The plot, however, is confused by combining a treasure hunt with an attempt to prevent a global environmental disaster. Oil and water, it doesn't really work. But on the whole, Sahara takes us on a fun ride, in the tradition of Indian Jones and James Bond, with shooting, chasing, and things blowing up. The chemistry between McConaughey and his sidekick, Steve Zahn, is particularly good, though at times their dialogue is a little too silly and simplistic, given the supposed gravity of the situations. Penelope Cruz as a doctor representing the "World Health Organization"  is really a stretch; but the film keeps her on track as a professional woman with a cause, without co-opting her (at least until the very end) as a love interest.  Suitable for all audiences. Enjoy. (Reviewer — G. P.)

1/2 School of Rock (PG-13) Jack Black gives a tour-de-force performance in this movie about a hard-core rock-‘n-roll fanatic who takes a position as a substitute teacher and turns his class of elite private school students into a rebellious-minded rock band. It’s very cute and funny at times, but after the fun is over, the next morning you begin to realize just what has happened: ten-year-old kids have been pressured into becoming fans of insidious rock stars while neglecting their education and being taught that rock-and-roll is the most important thing in the world. The script tries to distinguish between their morally corrupt indulgences and the love of the music while protecting the innocence of the kids; but for many that moral aspect of the film may easily be lost in the larger context of its message. Indeed, the kids themselves quickly begin using bad language, challenging authority, and rebelling against their parents and the rules of their school. Beyond that, there’s nothing uniquely objectionable, other than to note that Black’s roommate is living out-of-wedlock with his girlfriend. The plot itself is merely a reprise of “Sister Act,” but Black throws himself so completely into the role of a frustrated rock musician that it’s hard not to admire his passion and comic schtick: Viewers not particularly taken with rock-and-roll will certainly want to avoid this film; but others may enjoy it’s eccentric excesses. Despite its feel-good charm and uplifting ending, however, it’s not, in fact, edifying. Note that the “3MTV Diary of Jack Black,” in the DVD extras, contains offensive content, including nudity and objectionable language. (Reviewer — G. P.)

Secondhand Lions. Michael Caine and Robert Duvall play aging brothers who unwittingly take in their young nephew, Haley Joel Osment, who has been left on their doorstep by his mother. Living as isolated eccentrics, the relationship between Halley’s great-uncles and the young boy offers a feel-good film that’s entertaining for the whole family. Some of the uncles’  dialogue includes occasional “hells” and “damns,” but not so much as to spoil the overall impact of the movie, which is otherwise clean. There are a few flashbacks portraying action scenes that include sword fighting; and a contemporary “fight” scene, but the feel of the action throughout the film  is geared toward comedy and stylized “ tall-tale-telling.” This is a pretty nice film, set in the open plains of Texas, with a relaxed pace and a subplot involving some hidden money that everyone wants to get a piece of. But essentially, the core of the movie lies in the passing on of the wisdom Duvall has gained from his years as an adventurer in distant lands, conveyed in his “standard speech” about “what young boys need to know.” It’s a moral tale about values, love, and the growth that comes from the shared needs of this odd but entertaining family. Rated PG. (Reviewer — G. P.)

"The Sentinel." Michael Douglas, Keifer Sutherland. Douglas and Sutherland play adversaries in this suspense/espionage "plot to kill the president" movie. It's rather predictable and follows the formula of its predecessors (Clint Eastwood's "Absolute Power," for example) . But it makes for moderately entertaining viewing while remaining basically clean and devoid of offensive material (includes some language). Douglas, a secret service agent assigned to protect the president, is accused of being behind an assassination plot; he goes on the run to avoid arrest and to prove his innocence. His relationship with the first lady complicates his standing; Sutherland, his former colleague, is given the task of hunting him down. (Reviewer—G.P.)

The Simple Life of Noah Dearborne. This is an A+ movie through and through. Noah Dearborne, played brilliantly by Sidney Poitier, has one desire in his life — to live, in peace, in his family's old home outside of town. When a real estate developer targets Noah's land for his development of a shopping mall, Noah stubbornly refuses to give in. The story is endearing and funny, poignant at times, with good performances from all of the actors. This is another movie you will want to watch again and again. (Reviewer—H. L.)

Something’s Gotta Give. This is a pretty unpleasant movie. Jack Nicholson plays an aging but “likeable playboy” who suffers a heart attack and has to stay with the mother of his too-young girlfriend while he recovers. Diane Keaton plays a famous writer who is girlishly vulnerable and goes ga-ga over Nicholson, the “bad-boy” she knows she shouldn’t fall for. Keanu Reeves adds a completely unconvincing performance as the young doctor who falls in love with the much older Keaton and romances her as Nicholson’s competitor. It’s all very unconvincing and embarrassing at times to watch, as Nicholson gets weepy and Keaton wilts like a prepubescent teenager. Sexual situations are mild but generally pervasive--and somehow offensive just by being in the film in the first place. Not recommended, even for the most die-hard fans of these Hollywood stars or of predictable romantic comedies in general. Rated PG-13 for sexual content, brief nudity and some offensive language. (Reviewer — G. P.)

1/2 Spanglish  (PG-13). Adam Sandler, Téa Leoni. This is a surprisingly complex and interesting movie, not just the light-hearted, romantic comedy that might be expected. Adam Sandler  gives a compelling performance as a successful chef and "a really good guy," whose relationship with his wife (Téa Leoni) is in trouble, resulting from the difficulty she's having dealing with the recent loss of her job and her identity as a successful career woman and her aggressive "super-mom" personality. Her teenage daughter suffers most, from Leoni's desire to remake her ordinary-looking, slightly overweight but lovable daughter into a slim, fashion beauty. Throw into the mix a young, beautiful single-mother (Paz Vega), an illegal immigrant from Mexico who arrives in Los Angeles looking for work, but who speaks no English; and put her and her beautiful daughter of the same age as Leoni's, together into this wealthy but troubled household along with the live-in mother (played by Cloris Leachman) and the melting pot begins to boil as the Malibu mom seems to be stealing the little Mexican girl away from her mother, seducing her with expensive gifts and lavish attention. Unfortunately, there is one rather awkward bedroom scene between Leoni and Sandler, where she is shown simulating sexual activity with her husband, though she is still clothed, and the scene is played for comic effect (it's very funny). Otherwise, there's but an instance or two of language that could be offensive to viewers. But for adults looking for an insightful, sensitive treatment of the complex relationships that develop when  these two very different cultures collide, these drawbacks are quite minor. On the plus side: there are truly some important "family values" examined here: Can a child be loved for who she is, not for who the parent would like her to be? Can a rocky marriage, once founded on profound love and affection, survive infidelity and temptation? Can money and the trappings of material success kill the spirit of simplicity and goodness? At the heart of the story, however, is the moral choice Sandler's character must make when faced with acting on his growing affection for his beautiful live-in housekeeper, or whether he must restrain himself and remain true to his marriage in spite of overwhelming temptation. How this volatile mix  plays out makes for an entertaining and thoughtful film, which is also very funny at the most unexpected times. Put your thinking cap on for this one. And enjoy an  couple of hours of quality filmmaking for adults.   (Reviewer — G. P.)

Star Wars: Revenge of the Sith.  (PG-13). Only die-hard Star Wars fans are likely to be excited about this film. The first hour is painful to sit through for its seemingly dated, cliché animations and mind-numbingly innocuous dialogue (including names like "Count Dooku" and "General Grievous"). As the story line finally begins to emerge  late in the film, we learn the origins of the nefarious Darth Vader's "turn to the dark side" (to prevent the death of his beloved wife Padme, mother of twins Lea and Luke Skywalker); and we see the seduction that leads him to "make a deal with the devil," one Chancellor Palpatine. All of this seems overly simplistic and less than convincing, however, and only the climactic battle between  the young Darth Vader and his former best friend Obi-Wan Kanobi is visually interesting, though be aware that this scene, as are some others, graphically depicts severed limbs, and so might not be suitable for younger viewers. Otherwise, the movie is devoid of bad
language and sexual imagery, but also of every other element that would make it satisfying. George Lucas apparently felt he had a built-in audience for this one and could neglect the intelligence and expectations of a general audience. For die-hard fans, go if you feel you need to know the origins of the Stars Wars characters. But if you're not, there are better films out there that won't treat you like an eight-year-old and leave you feeling as if there was a better way to spend a couple of hours and a considerable amount of cash at the box office. (Reviewer — G. P.)

The Straight Story. This is a character film, so don't expect a plot, but it maintains a sense of sweetness and honesty from beginning to end. This is the true story of a man, now in his 60s, who gets the news that his brother, whom he hasn't seen in years, has stricken ill. Suffering from various physical ailments and unable to drive, he sets out to visit his brother the only way he can...on his tractor. On his 300-mile trip, he meets up with a wonderful cast of characters. Once you get used to the fact that the plot isn't winding up to major event, you can sit back and enjoy the ride. An enjoyable film, with an endearing spirit. Although it is rated G, it's really for adult audiences...unless you want to put your children to sleep. (Reviewer—H. L.)

Spider-Man 2. This is good fun, much better as most critics have said, than the first Spider-Man movie. There’s a stronger story line, a conflicted villain, a conflicted hero, and a love story with a rival. The "violence" is too strong for young children, but teens and adults can enjoy the battles between a scientifically created villain/scientist whose designs for good have gone awry and the "flying arachnid," as Peter Parker’s newspaper editor describes the web-throwing superhero. As someone who tried watching the first Spider-Man movie twice, and fell asleep twice due to lack of interest, I must say this one is interesting and attention-grabbing in a way that the first one wasn’t. There’s humor and human drama. It’s clean and entertaining. And expresses some good moral themes along the way. Enjoy. Rated PG-13.  (Reviewer — G. P.)

1/2 Sweet Home Alabama. A young fashion designer leaves her glam life in New York long enough to return to her humble southern hometown to demand a divorce from the husband she had left behind several years earlier in order to gain the freedom to wed a rich, big city socialite who has asked her to marry him. Except for a couple of early instances of using Jesus' name in vain (an obvious and unfortunate ratings ploy), the movie is otherwise very clean and entertaining, featuring predictably quirky Southern eccentrics and rich/poor, city/rural contrasts in a generally non-offensive way. Everyone comes off looking good, except for Candice Bergen, who plays the villain-mother and takes a punch for a good gag-laugh. It may not be the best romantic comedy ever made, but it's largely harmless and entertaining, and leaves you feeling like things have worked out just about as they should. A good “kick-back, popcorn, I'm glad it's Friday” sort of film. Rated PG-13. (Reviewer — G. P.)

Taxi. PG-13. Queen Latifah stars as a New York bike messenger, soon to be taxi-and-wanna-be NASCAR driver in this moderately entertaining movie that doesn't pretend to be any more than it is: a lightweight comedy about a clumsy cop and willing
civilian accomplice, out to stop a gang of Brazilian bank robbers. The twist is that the criminals are four women, led by super-model Gisele Bundchen. Unfortunately, the writing isn't that good, so scenes that might have been laugh-out-loud funny are at most merely smile-worthy. Saturday Night Live's Jimmy Fallon, as the inept cop, is so frail as to be completely unbelievable, and not particularly funny. Nevertheless, fans of fast cars and street racing should enjoy the frequent chase scenes and the supped-up taxi, complete with supercharger and 007/Batman-style morphing. There's a smattering of moderate swearing, but it's often avoided where it could otherwise have persisted. Even the "violence" is pretty much G-rated, with no one actually shown getting injured. Bullets bounce off cars and merely send police scurrying into hiding. There are no visuals or offensive sexual content, but for one scene showing Gisele "frisking" a woman police officer in a graphic manner, but it's played for comedic effect. This is an okay rental for a light-escape into the fantasy of a heist-chase-cop movie. It's genuinely funny only a couple of times, but generally entertaining most of the time. Speed junkies should like it; fans of Latifa will, too. (Reviewer — G. P.)

Teacher's Pet. Perhaps the answer to today's poor movie selection can be found in the oldies but goodies. This 1958 comedy starring Clarke Gable and Doris Day is smart, witty, and enormously entertaining. Gable plays Jim Gannon, the gruff, old-style editor of a large daily newspaper who is forced to be a guest lecturer at a local journalism class. Gannon, who looks down on academics and is even more needled when he discovers that the instructor is a woman (Doris Day), decides to bail on the lecture and sneak into the class to show her a thing or two. Filed with twists and turns, the hilarious tale that unravels grabs you at the beginning and keeps you marvelously engaged to the end. From a Christian perspective, the martinis are a little too free flowing, and so is the cigarette smoke, but this is an all-around good tale that walks the line between the male chauvinist culture of the 1950s and Christian values. The level of integrity of the characters is extraordinarily high, and in the end, everybody learns a thing or two. Definitely worth the watch. Not rated. (Reviewer—H. L.)

The Terminal. Tom Hanks, Catherine Zeta-Jones. This is a very long, dreadfully dull film with poor dialog, unbelievable situations, and characters you could hardly care less about. The plot centers around a man who gets caught in a crack in customs when he tries to enter the country from the fictional country of Krackovia. While in the air, the country was overthrown by rebels and the government dismantled, and all relations with other countries suspended. With an invalid VISA and home country in turmoil, he is prevented from entering the United States or returning home, leaving him stranded in the terminal at JFK Airport for weeks or months on end. With no valid money and food vouchers that got thrown in the trash, he eats crackers with mustard, returns airport carts for quarters out of the automatic machines, and eventually gets a job with a construction crew where he's paid under the table so he can take his love interest, flight attendant Catherine Zeta-Jones, out to dinner. The dialog is dreadful, the time spent waiting for diplomatic resolution seemingly endless, and the scenes between Tom Hanks and Zeta-Jones so poorly written that they are actually painful. I was tortured by this film for an hour and a half before I gave up. In the time I watched, the film was almost completely clean. Just very minor swearing that blends in so that it's not overly noticeable. But the movie is just so dull that you have to wonder what these actors were thinking. (Reviewer — H. L.)

The Three Burials of Melquiades Estrada (R) Tommy Lee Jones. Despite a good review on a Christian movie site, noting the movie's theme of "redemption," this is a rough movie and not recommended for Christian film buffs. Graphic sexual images and foul language are pervasive throughout the first half of the film. It's also quite violent, though slowly the violence lets up a bit, at least for a while. Some careful edits could have cleaned up the graphic sexuality and allowed viewers to focus on the story. As it is, however, it's a rather "dirty" movie; and although the sexuality is contextual, it nevertheless  deserves an R+ rating. The story: a sadistically brutal border guard is brought to "repentance" by Tommy Lee Jones for his accidental killing of Jones' cowboy friend, an illegal immigrant from Mexico. Jones is doggedly determined to take both the victim's body back to his hometown, where the once-brutal border guard is forced to bury it in the harsh desert. Unsettling and uncomfortable to watch. Couldn't recommend it to anyone.

The Time Machine. Staring Guy Pearce, Orlando Jones, and Jeremy Irons. A surprisingly decent movie. A scientist (Guy Pearce), seeking to recreate the past, accidentally propels himself into the year A.D. 900,000, where he discovers that a new race of beings has evolved. The special effects are great, and the scene where he travels to the future while the creatures on earth evolve is mesmerizing. That is, if you accept that this is science fiction, including the fictional premise of evolution, and recognize that Christ will return before the earth is destroyed. While this movie is rated PG 13, it contains no sexual situations, and very little, if any, bad language. The violence is not overly gory, but is not suitable for younger viewers because of the creatures' intense desire to hunt and kill human beings. Christians may not wish to expose themselves to the attire of the damsel in distress, whose moderately see-through top is worn throughout the movie. No true nudity was shown, but this aspect of the film is a bit like a futuristic Victoria Secret commercial. Beyond this, the movie is worth seeing if you enjoy science fiction. The plot is good, the action is great, and the acting is acceptable, if a bit cheesy on occasion. Rated PG-13. (Reviewer—D.B.)

Two Weeks Notice. Hugh Grant and Sandra Bullock. A nice film. Easy to watch, and genuinely clever, at times. Nothing much “happens.” There are no dramatic incidents or crises. Just a story about a young woman who brings her “hippie” protest-childhood values into conflict with the world of a mega-rich corporate developer. Hugh Grant plays the “Donald Trump” role, and serves as the object of her reformist intentions. It's predictable romantic comedy fare, but the dialogue is unusually funny and honest, and the film is paced in a way that distinguishes it pleasantly from television. There is no profanity, no uncomfortable romantic bed scenes. Bullock and Grant have a good rapport and give entertaining performances. Bullock is characteristically awkward and confused and pulls off her pratfalls with comic precision; and Grant is at his self-deprecating boyishly charming best. Rated PG-13, but it's barely PG, and that only because of the general subject matter—two young singles looking for true love in the Big Apple. Credit Hollywood for being able to keep this one clean and not pandering to obligatory bed scenes, though there is a good bit of dialogue that includes comments about sexuality and unmarried relationships. But by television standards, it's extremely modest and tasteful. (Reviewer — G. P.)

Tuck Everlasting. If you could choose to live forever by drinking from the spring of eternal life, would you? That's the premise of this gentle film, bearing the message: “Never having to face death might not be as wonderful as it may seem.” Rated PG, but for most viewers more likely G. Just about everyone but the very youngest in the family can relax and enjoy this dramatic treatment of the book by the same name. Some children, however, might be upset by seeing someone knocked on the head (resulting in his death); and there are several (bloodless) scenes showing people being shot. The events, however, are portrayed with extreme moderation. Otherwise, “Tuck” is guaranteed to spark a discussion of “would you?”—and to offer the opportunity of talking about what it means “to live forever.” Good cast, well-acted, beautiful settings. Generally good family values and a thoughtful theme. (Reviewer — G. P. )

 An Unfinished Life. (R) Robert Redford, Morgan Freeman, Jennifer Lopez. Not many surprises here. Redford and Freeman give predictably thoughtful, mature performances: Freeman plays the victim of a bear-mauling; Redford, a down-on-his luck rancher, and the caregiver for Freeman, his hired-hand and
best friend, even though the two carry on an irascible relationship. Enter Lopez, who shows up, on the run, with a young girl in tow--Redford's granddaughter--and a caustic history. There's ultimately a pretty good story involving the challenge of forgiveness for wrongs done, and redemption for Redford, as the gruff and irritable rancher interacts with his young granddaughter. There's some violence, but the most serious drawback is the level of profanity used throughout the film, supposedly characteristic of hard-nosed Western cowboy types who are alienated from the world and angry about their lot in life, but it doesn't make it any easier to sit through. Viewers who can tolerate this, however, will find an interesting if unspectacular film somewhat different from the usual Hollywood fare. (Reviewer — G. P.)

1/2  The Upside of Anger. Joan Allen, Kevin Costner. A rather miserably depressing movie: a suburban housewife and mother of four teenage daughters believes her husband has left her for his secretary, grows bitter and angry, and spreads it like a poison to everyone around her, particularly her children. Costner, an alcohol-dependent former professional baseball player and neighbor is lurking around, seeking an opportunity to capitalize on her loss. Lots of adult language and sex talk. Nothing enjoyable here. There is a twist at the end that makes all of the mother's anger baseless, something that, in turn, makes the rest of her life seem unredeemable. As a result, the sudden closeness with Costner at the end of the film rings false. What's the upside of anger? Despite the narrator's explanation, there is none. Not recommended for anyone. (Reviewer — G. P.)

1/2. Walking Tall. In this remake of the classic movie, based on a true story, The Rock plays an Army Special Forces sargeant who returns to his hometown to find it corrupted by an old schoolmate, who has closed the main source of revenue for the town, the old mill, and replaced it with a casino and strip club. After having get beaten up for calling attention to loaded dice in the casino, The Rock makes it his mission to clean up and take back the town. This isn't a well-written film, but it is a relatively clean, classic  feel-good movie with lots of shooting and fight scenes where the good guys win and the bad guys lose and the hero gets the girl. Rated PG-13 for violence and sexual situations (mostly scenes of scantily clad women and pole dancers in the casino), but these situations are stylized and there is little blood, no gore, and no nudity. Some cursing, but it's minimal. Overall, this is a restrained film in which good triumphs over evil. If you like movies in which good guys beat up bad guys and can overlook some worldly situations, this is a good "movie for guys who like movies." Rated PG-13.  (Reviewer — H. L.)

1/2  The Weather Man. (R) Nicolas Cage,  Michael Caine, Hope Davis. This is a depressing movie. Cage plays a minor-league television weatherman looking to move up to the big leagues. Michael Caine plays his father, a famous writer  who is acutely disappointed in his son as much for his failure as a divorced dad of a troubled child as for his career choice. He is also dying of cancer. Cage's alienated young teenage daughter is overweight and  has serious self-image and parental issues. He tries to relate, but can never really find a place where they can come together as father and child. He finally has a choice to make: leave his ex-wife and daughter behind in Chicago to pursue a high-profile job on a primetime morning show in New York; or stay at home and live a diminished and frustrated life of a failed father and husband. His choice resolves none of his personal issues, and as viewers, we're left feeling the pain. Cage is all-too-efficient at becoming this sad and ineffectual man. In spite of some critics' favorable reviews, this one's a downer and should be approached with caution. Also contains a good bit of offensive language.  (Reviewer — G. P.)

The Whole Nine Yards. Matthew Perry's physical humor is at its best in this very funny movie about a man who inadvertently discovers that his neighbor, Jimmy the Tulip (Bruce Willis), is a former hit-man for the mob, now in the witness protection program. While Perry is trying to stay out of Jimmy the Tulip's way, Perry's wife, played by Patricia Arquette, is trying to get out of the marriage by setting up her husband as the fall guy with Tulip's enemies, who would love to know his whereabouts. This movie is rated R, mostly for a completely unnecessary nude scene that should have ended up on the cutting room floor. It's a slapstick romp, not family values, but outside the nude scene, it is not overly offensive. Watch it on television or, if you must rent the video, have your thumb ready on the fast-forward button for one brief scene about an hour and ten minutes into the film. Rated R. (Reviewer—H. L.)

The Wedding Planner. Jennifer Lopez and Matthew McConaughey. This is definitely a "chick flick." Guys, if you want your wives or girlfriends to say "awwwwww," rent this film. The dialog alternates between smart and witty and incredibly corny, but when seen through "chick flick" eyes, it works. Jennifer Lopez plays a wedding planner whose personal life revolves around take-out and watching The Antiques Road Show, whose life is suddenly lit up by a chance encounter with Matthew McConaughey, who saves her life from a runaway dumpster. At first, it seems that all's well that ends well, until Lopez discovers that the man of her dreams is the fiancé of one of her clients. This raises the issue: Should McConaughey marry his fiancé when he experienced feelings for someone else? Or was it just nerves? Despite the light romantic tone of this film, it raises very real issues about love and life — including the issue of arranged marriage — and how one really finds true, lasting love. There are no bad guys in this film. The characters have depth and character, and the issues of love and marriage, and doubts about one's future marriage partner, are handled with grace and respect — even awe. Despite the occasional and unnecessary outbursts of profanity (which you could count on one hand), this is a very sweet and corny film that's worth watching. I had trouble rating this film because it did make light of the use of alcohol, but taken in context, overall, this is a very nice film. It was rated PG-13 but could easily have been PG. (Reviewer — H. L.)

Welcome to Mooseport. “Everybody loves Raymond,” but that may not be the case in this film, as Ray Romano reprises his TV character in this “Northern Exposure”-like take-off of small town life in the fictional community of Mooseport, Maine. Playing a simple hardware store owner and handy man, Romano squares off against Gene Hackman, a highly popular U.S. president who has just left office and finds himself corralled into running for mayor of the small town where he has kept a summer home. When Ray becomes his election opponent, the media get involved and the stakes suddenly get very high. Ray’s character is so completely unlovable, however, that it’s hard to believe the subplot: that the president becomes his rival for the hand of his Ray’s long-time sweetheart, a hard-working veterinarian who has been waiting for a proposal from the handy man for five years. The movie fails to live up to the David vs. Goliath the theme, however; and comes off as little more than an extended television episode with a license to use bad language and offensive material. Objectionable content includes a prolonged view of a naked man walking down a busy street—the first image we see as the movie opens. And he is shown a second time, again completely gratuitously, displaying himself provocatively in front of some women on the sidewalk, just as the plot is lagging. There is also some early and frequent swearing, present just long enough to offend viewers who won’t want to hear it but sufficient to ensure the PG-13 rating. Hackman flawlessly plays his role with comic skill; but otherwise, only those who truly do love Raymond will feel like this rental has been worthwhile. (Reviewer — G. P.)

1/2 Whale Rider. Rave reviews for this film may be a little too generous. It's interesting and well made, but not the “Free Willy” fun and uplifting story that the reviewers and cover on the film box might lead you to believe. On the contrary, there's lots of grieving, sadness, and mourning. The story: A young Maori New Zealand girl is a surviving twin, raised by her grandparents. The grandfather is greatly disappointed that she lived instead of the boy, since he was expecting him to be raised as the next tribal leader. Consequently, he rejects his granddaughter's attempts to learn the old ways and to fulfill that role. Set in modern times, there's also a subtext of ancient vs. modern, as the grandfather sets out to restore the ancient tribal traditions among the young boys of the village, who are initially clueless. A stranding of whales brings the plot to a dramatic climax. All ends well, but along the way there's a heart-rending rejection of a young girl who nevertheless continues to love and honor her grandfather in spite of his cruel rejection. Too sad for the younger set, it's definitely not a children's film. The only potentially objectionable content includes a smattering of scatological language and some youthful smoking (and one momentary glimpse of a “bong,” so instantaneous that most people won't even see it). Watch it when you're feeling “up,” to balance the time you'll spend feeling heartfelt sadness on the way to the final resolution of this beautifully filmed but in some ways disturbing film. Rated PG-13. (Reviewer — G. P.)

What Women Want. Hollywood's idea of what women want, so don't look for any deep meaning, but it's worth watching just to see Mel Gibson slip on pantyhose, wear a nose strip, and shave his legs. Gibson plays a slick advertising executive, a real ladies man, who is trying to regear his thinking in a changing advertising landscape now geared toward the needs and desires of women — something Gibson's character knows nothing about. That is, until a mishap with a blow-dryer and a tub full of water grants him the ability to read womens' minds. Suddenly, Gibson is in for an education with his teenage daughter, his boss, and women in general. Film has mild language and sexual content, which results in an R rating. The romantic liaison with Gibson's love interest, played by Helen Hunt, removes it from the "family value" list. Too bad Hollywood writers don't know what women REALLY want, or this movie might have actually had more redeeming value. Rated R. (Reviewer—H. L.)

  Wild Hogs. Tim Allen, John Travolta, Martin Lawrence, and William H. Masey. This is a very funny movie, with belly-laugh inducing gags from start to end. There are, however, a number of instances of crude language and a couple instances of comic-nudity (men seen naked from the back at a swimming hole). There's also a homophobic understory in one section, played strictly for laughs but which could be uncomfortable for some viewers. (But it is quite funny!) This is a Disney-backed film with a large budget; so the visuals are grand and the stunts impressive. Four middle-aged repressed suburbanites from Cincinnati go on a road trip with their Harleys, under their moniker "Wild Hogs." But then they meet the real thing, a tough biker gang led by Ray Liotta that decides to put them in their place. That's the storyline, but the movie is really about comedy, with Tim Allen, John Travolta, Martin Lawrence, and William H. Masey, cracking one funny line after another, even while facing their imminent destruction. If you can set aside some sensitivity to the occasional PG-13 language and situational nudity, then you may find this is one enjoyable road trip, a great escape into a Hollywood fantasy that echoes, at the end, some of the classic Western standoffs between a ruthless gang of raiders and a mild-mannered town whose hero(s) shows up in the end to save them. Be prepared to be surprised and to laugh 'til it hurts. (Reviewer—G.P.)