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Barbara Walters: Tell Me Everything is mostly balanced portrait of a true trailblazer. While highlighting her struggles as a woman in a male dominant business, it shows enough of her personal shortcomings to avoid becoming a hagiography. What keeps this solid documentary from greatness is that offers only familar challenges faced by professional woman (e.g , sacrificing domestic life for her career), but lacks anything really shocking or revealing. This is specially true given Ms. Walters's ability to extract intimate details from her subjects. If only she or someone had the tenacity and finesse to get out of her what she could get out of her subjects, this documentary would rise to a level worthy of the subject.

Allegedly based on true events, By Any Means rings false on many levels. Set mostly in Hattiesburg, Mississippi in 1966, roughly two years after Chaney, Schwerner, and Goodman disappeared near the tiny town of Philadelphia about a two hours drive to the northeast. Greg Scarpa (Mark Wahlberg), a former gangster from Brooklyn, New York in an unofficial capacity for the FBI breaks open the case involving the three civil rights workers in Philadelphia, by using so called "enhanced interrogation techniques." When Vernon Dahmer (Giancarlo Esposito) , a local businessman and civil rights activist is attacked and killed in Hattiesburg, Scarpa is recruited to assist in that case. He's teamed up with Wayne Strider (Yahya Abdul-Mateen II), one of the few Black FBI Agents on the force, and a Hattiesburg local. Up until now, Strider has been acting as little more than a glorified file clerk, so he's eager to investigate the death of his friend Dahmer even if it's with someone from outside the department like Scarpa. However, Strider gets more than he bargained for with Scarpa, who has little regard for local customs and standard investigation techniques. As a local, Strider knows how get the Black locals to open up and assist with his investigation, but at the same time understands his limitations in dealing with whites including local law enforcement who have no respect for him or his position. Predictably, this difference in approach causes a lot of tension between Scarpa and Strider which plays an outsized role in the narrative. With more restraint and care, this could have made this police procedural compelling. However, Sascha Penn's overblown script plays like an odd mix of Mississippi Burning, Green Book, and Goodfellas. Elegance Bratton's direction is serviceable with standout performances by Esposito and LisaGay Hamilton as a witness to Dahmer's attack. As far as the basic details (irrespective of the factual details of the investigation), there seems to be little regard for accuracy. For example, the hairstyles suggest the early 1970s, not the mid-1960s in the Deep South. While some northern hippies and intellectuals might have started to let their hair grow out a bit, for white men in Mississippi, this was still the era of the crew cut. Also, the Georgia filming locations are a poor substitute for Hattiesburg with homes that were obviously built in the mid-20th century. They are just too new and modern than what you would expect particularly in Black and working class neighborhoods. Overall, fans of revenge vendetta films might get some pleasure due to the shear volume of violence. If Scarpa were Black, his character might remind you of the lead of a blaxploitation film from the 1970s sticking it to the Man, but for contemporary audiences he's a caricature from countless Italian mobster stories.

The central couple is likeable enough, but the plot is woefully contrived -- even by romcom standards. If the central issue is that unmarried couples can only have sex during one 12-hour period each year, then why not just get married (and get divorced if the relationship doesn't work out)? In many ways, the novel sexual environment in "One Night Only" makes traditional values look like a walk in the park by comparison.

"Ice Cream Man" is a non-stop gorefest that is neither scary or funny. The little bit of a plot that the film has comes late diminishing its impact. Only for diehard fans of gore. For the rest there are better choices for genuine thrills or dark humor.

Nice to look at, but plot and characters are insufficiently developed. Dialog is mostly banter with very little at stake. It's almost like you are a fly on the wall coming into the situation mid-stream wondering if you missed something important.

With an unhurried pace, On Swift Horses explores the lives of two brothers (Will Poulter, Jacob Elordi) and the wife of the first brother (Daisy Edgar-Jones) as they pursue their passions in repressive 1950s America. All three of the main characters are deeply flawed yet complex, which keeps things unpredictable, but also frustrating at times. As a result, the story lacks an access character to fully bring you into the material, but the solid acting, and its self-assured visual style goes a long way toward keeping the audience engaged. Filmgoers looking for something beyond the formulaic, should definitely take note.

Julie Cohen who co-directed "RGB," and "My Name is Pauli Murray" with Betsy West goes out on her own with "Every Body," an insightful documentary about a rarely explored minority -- intersex people. It focuses on three individuals Saifa, Alicia, and River, who were each born exhibiting characteristics of both genders. For those who believe that gender is strictly binary (either you're a male or female), the film reveals that for approximately 240,000 people in the United States, they don't neatly fit into either category. Unlike trans people who identify with a different gender than the one assigned at birth, intersex people often externally resemble one gender, but genetically may indicate the opposite gender. For example, an individual may have breasts like a female, but be genetically male with testes. The film also explores attempts by doctors to surgically "assign" a gender to a person (often at a very young age) that may conflict with one's gender identity. The stories of all three subjects are diverse with some common threads. For those who come with an open mind, "Every Body" is a provocative and moving work that can heal wounds and literally save lives.

A deriviative and unremarkable movie about a husband who bets his playboy friend that he can't seduce his wife. Beyond the unimaginative plot, the film has many shortcomings. The performances while energetic are stilted. The sound re-recording is sub-par. About the only redeeming aspect of the movie is the soundtrack and it's negative virtues such as no sex, violence, or nudity (if that even appeals to you). At best it's a mildly amusing comedy suited for home viewing. With so many choices available to consumers right now, it's pretty easy to find something more worthy of your time, irrespective of your taste.

A charming, if light period romance. Sope Dirisu is very appealing as the nobleman that is looking for a bride. Freida Pinto as his prospective bride does a nice job of balancing her character's cool reserve, sharp wit, and just of hint of vulnerability. Zawe Ashton is a bit over the top as the vapid and scheming woman that has been passed over, but has a few nice comedic moments. The nontraditional casting requires a bit of open-mindedness on the part of the audience, but elevates the otherwise featherweight material. While predictable in many respects, "Mr. Malcolm's List" is perfect for the person that loves romantic movies with gorgeous period costumes and an attractive cast.

A basic concept of a romance is you're supposed to be rooting for the central couple to get together. That's kind of hard to do when the couple involves a 15-year-old boy and a woman in her mid-20s. Given the fact that the woman is unremarkable in virtually every aspect, it severely limits her appeal to boy as nothing more than vessel to lose one's virginity. While the boy is charming and loaded with ambition, the woman comes across as vapid and rudderless. Working as a photographer's assistant, she even confesses to the young man that she expects to still be working in the same position ten years later. As a story about a friendship between two opposites the film works much better. Through the course of the film, you begin to get the sense that they truly care about each other. Set in the San Fernando Valley section of Los Angeles in 1973, the film is a nostalgia trip of various goings-on on at that time, but writer/director Paul Thomas Anderson goes a bit overboard with the details. Unless you grew up in that era or relate to specific details about the characters (e.g., religion, hobbies, interests), you'll find the film overlong and meandering. That being said, the film is mostly entertaining with a fair amount of charm.

An unusual, yet intriguing story about a loner that befriends a creature made up of trash. It is a story about hope and a refusal to accept the limitations placed on you by an authoritarian society. Due to some heady themes, a smattering of violence and subtitles, perhaps best suited for pre-teens on up.

In an age of superheroes, reboots, and formulas, it's refreshing to see a film that assumes the audence has some intelligence. "Passing," actor Rebecca Hall's feature directing debut is one such film. It deals with the underexplored subject of "passing" (when an African American passes themselves off as White). Rather that spell everything out for you, the film, based on a 1929 novel by Nella Larsen, allows you as the viewer to interpret what you see through your own perspective. The result is a film that is in equal measure challenging as it is rewarding. The cast headed by Tessa Thompson and Ruth Negga is first rate. Eduard Grau's black & white cinematography is superb. To fully appreciate this provocative film, it requires your undivided attention, so if don't see it in the theatre, be sure to eliminate anything that may distract from your experience. Hall, whose maternal grandfather, Norman Isaac Ewing, an African American who passed (alternately for White and Native American), demonstrates an obvious personal connection to the material. Not since Julie Dash's short film, "Illusions," has there been a film that deals with the subject of passing with such sophistication.

Set in Manchester, New Hampshire (which they call "Manch Vegas"), the film is about a group of a Irish American friends who are prone to heavy drinking and fighting. The story could be about any ethnic group, but given their boorish behavior, not necessarily the kind of guys you would want to spend with for an hour, much less than entire evening. However, as an examination of the destructive nature of toxic masculinity, "Small Engine Repair" is very effective as drama. In the beginning you wonder where everything is heading, but by the end the film makes sense.

Intriguing character study of Tammy Faye Bakker held together by Jessica Chastain's bravura performance. Not only does she act, but she sings as well. The character is presented with respect, but not without humor. Structurally, the film is very episodic, trying to hit significant moments in Bakker's life rather than focus solely on the events leading up to her eventual downfall. The script by Abe Sylvia (based on the documentary of the same name) is never boring. The film should appeal to those interested in the subject matter or for those looking for something other than the franchise films that dominate the market.

A visually stunning musical which mixed romance and social commentary was virtually unseen by audiences at the time of its release, but still holds up nicely today. Perhaps audiences weren't interested in a musical that dealt with social and political unrest. At the same time, audiences that were interested in social issues, perhaps did not want it addressed in the form of a musical. However, for audiences with a open mind, "Absolute Beginners" can be both entertaining and illuminating. The fastastic soundtrack features a mix of classic and original tunes. The cast which includes David Bowie (who both sings and dances) is first-rate. Sade makes a rare film appearance singing, the fine original, "Killer Blow." Also, watch out for an early film appearance of Carmen Ejogo, who plays the younger sister of the Mr. Cool character in the film. The movie was helmed by music video Julien Temple, who also shot Janet Jackson's "When I Think of You" clip. The introduction of the film employs a similar visual style to the video, which efficiently introduces the major characters. Looking for something beyond the typical musical, then "Absolute Beginners" is definitely worth a look.

As the UK enters lockdown during the coronavirus pandemic, a dysfunctional couple (played by Sharon Horgan and James McAvoy) are forced to spend significantly more time with each other. In the process, they must face various family issues head on. Essentially, a two-fer, the film features utilizes direct address by the couple (both together and individually) with the audience. Overall, the lead performances are strong with a mix of humorous, insightful and moving moments. One's appreciation for the film will largely depend upon the viewers patience for the claustrophobic setting and a willingness to explore the subject matter.

Harry Belafonte hosting the Tonight Show for an entire week in 1968 is definitely a subject worth exploring. Despite rising political unrest, racial tensions, class division, and an unpopular war raging in Vietnam, network televison was largely in a lily white land of escapism. What a breath of fresh air it must have been for Belafonte to fill-in for Johnny Carson and give a America a small dose of reality between the banter and the musical numbers. While we get some sense of what the show must have been like that week (largely through interviews with Belafonte himself), the audience is left wanting more. With the exception of Belafonte, only a Tonight Show staffer and Dionne Warwick were actually present during the taping of at least one of the shows that week. To help provide some historical context, we also get some input from media critics, but their interviews focus more on Belafonte's career and his activism than his actual appearance on the Tonight Show that week. Peppered through the documentary are celebrity interviews, which mainly consist of their reactions to learning about Belafonte's appearance on The Tonight Show and their admiration of him as an artist. While one appreciates the nuggets of information revealed in "The Sit-In," by the closing credits, one is left wanting more.

On paper, "Seberg" sounds intriguing enough -- an international starlet jeopardizes her career when she gets romantically involved with a black community activist . The problem here is that the title character seems more motivated by lust and a desire to shed her wholesome girl-next-door image than to become someone who follows her heart and uses her position to fight against racial injustice. The result is a film that uses the FBI and its desire to neutralize even peaceful community organizations as merely window dressing instead of being the focus of the material. Kristen Stewart and her able cast do the best with what they have to work with, but one is constantly reminded of the white gaze. Perhaps the material would have been more compelling if it focused more on the good work that the Panthers and other grassroots organizations were doing in the community instead of the more confrontational aspects.

A straightforward, but effective war movie about two soldiers who embark on a dangerous mission to save the lives of thousands of British soldiers during the height of World War I. In a general sense, 1917 is somewhat reminiscent of Saving Private Ryan in that it gives its characters a clear goal with an easily discernible outcome. The film employs a technique that creates the illusion that everything is happening in real time with long takes. While this technique has been used in films with both small (A Boy. A Girl. A Dream) and larger budgets (Birdman), often with mixed results, it is very effective in this film. Even without cuts in the middle of each scene, the camera and action work so well together that the audience is always seeing what they need to see. That along with a very sophisticated use of CGI, makes you feel like you are right in the middle of the action. The result is an emotionally satisfying film with strong performances that doesn't let its use of technology get in the way of telling a good story. At just under two hours 1917 is the perfect length. You won't be bored and perhaps you will have a greater appreciation for the sacrifices made by soldiers in battle. Afterwards, checkout Peter Jackson's powerful documentary about World War I, "They Shall Not Grow Old."

While I appreciated the film's feminist message, it's drowned out in a horror film that is neither scary or suspenseful. This might sound sacrilegious to write this, but the filmmakers would have benefitted from watching a few films by Roman Polanski (and others) to learn how to craft the requisite scares that the film desperately needs. The film also fails as a social satire or dark comedy. Even with the best of intentions, you still need to understand the conventions of the type of film you are making and either adhere to those conventions or cleverly break then.

Generic cop movie that bites off a little more than it can chew If you like action, it's a decent time waster with the requisite shoot outs and chase scenes. However, if you're looking for more than a cheap thrill or two there are better options.

Despite its technical proficiency including one of the best chase scenes in recent memory, overall Gemini Man is a so so action flick.

This programmer featuring strong performances by Mirren and McKellen is a bit too ambitious for its own good. What should have essentially been a story about a con artist and his relentless pursuit of his next victim gets bogged down with some rather convoluted plot twists. Not every film featuring septuagenarian leads needs to be of awards caliber. Just like films featuring younger actor's it's okay for it just to be fun.

"Rocketman" is a story of Elton John's life through his music. While "Bohemian Rhapsody" gave a relatively upbeat examination of Freddie Mercury's life, "Rocketman" is more of a cautionary tale about the trappings of fame. Taron Egerton, who does his own singing, is very good. Bryce Dallas Howard, is also worth mention for her outstanding performance as Elton's mom. "Rocketman" plays more like a traditional musical with plenty of singing and dancing. Unlike "Mamma Mia: Here We Go Again," where the staging of the musical numbers seemed perfunctory, a lot of creativity and imagination is on display in "Rocketman." The film does an excellent job of showing the passage of time without slowing the film down with subtitles and awkward transitions. However, fans of Elton's music will probably wish they got more than short excerpts of each song. Overall, a very good biopic that avoids hagiography and cheap sentimentality.

More of a curiosity piece, than a movie, "Bolden" has top-notch production values. Unfortunately, too much time is spent focusing on the tragedy of Bolden's life and not enough on what made him a great artist. The film would have been great as a short film, but insufficiently developed for a feature. Recommended only for indie film fans and jazz aficionados.

If you've seen the trailer, you've pretty much seen the movie. This is the kind of by-the-numbers thriller that the major studios typically release in the springtime, when the competition is weak. If there were a few cheap thrills, one might recommend as a guilty pleasure, but there's no action or sex on display here, that you can't readily find on basic cable or streaming services. The talents of Michael Early, Meagan Good and Dennis Quaid are largely wasted in this predictable genre picture that lacks subtlety, depth -- and a point.

A movie doesn't get to be this bad without trying. There's obviously an attempt to use humor and satire to comment on how money and fame corrupt an artist. Unfortunately, the stakes are not clearly laid out. Also the main characters are very fickle and do things based on the dictates of the plot and not based on logic. As a result, the talents of Gabriel Byrne and Kiersey Clemons are largely wasted in this poor excuse for a film.

This low brow comedy has a few crude laughs. There's even a story to follow and a not too subtle message about tolerance. If you have a disdain for "serious" movies, you might even find it worth your time. This is particularly true if your air conditioning is on the fritz on a hot summer night. Just be sure to keep you expectations in check. Everyone else is best to keep away. There's no need to stay for the long closing credits which pad the film's 91 minute running time.

This well-crafted film has a clever plot, stunning visuals, and winning performances from the cast. It's a bit overlong, but engaging throughout.

When family tradition dictates that the youngest daughter not be allowed to marry, Tita develops a passion for cooking. For those who enjoy food and romance, "Like Water for Chocolate" offers many visual pleasures, despite a few missteps along the way.

Quite frankly, "The Tale" is a difficult film to watch, but it tells a complicated story that deserves to be told. Definitely not a film for the very young. It might be worth seeing with teenagers along with their parents, but only if the parents are prepared to have a long discussion with their children afterwards. Laura Dern, as expected gives a strong performance, but Jason Ritter as Bill is absolutely fearless. It's hard to imagine anyone doing a better job in the latter role then Ritter.

"Nossa Chape" examines the impact that a terrible tragedy had on a soccer team, their loved ones and their devoted fans. Rather than focusing solely on the grief felt about the team, the film also explores the often complicated and messy rebuilding process than occurred in the wake of the tragedy. Even if you're only a casual soccer fan, "Nossa Chape" will keep you glued to the screen as the multi-layered story unfolds.

Art imitates life and vice versa in this compelling yarn about a group of college students that attempt to steal some rare books from the university library. Told from multiple points of view, "American Animals" is never boring, suspenseful, and even laugh out loud funny at times.

In a year filled with films about dysfunctional parent-child relationships (e.g., Lady Bird, Three Billboards, The Florida Project) "I, Tonya" takes the prize for the most poisonous. Watching Tonya Harding (played by Margot Robbie) and her mother LaVona (Allison Janney) go at it is like watching a train wreck or a street brawl -- it can be tough to watch, but it's hard to look away either. For those familiar with the true events that inspired this film, you might leave it with a bit more compassion for what Harding went throughout in her life. There's never a dull moment in Steven Rogers's imaginative screenplay. It's filled with great lines and plays like a gangster movie. Robbie, Janney and the rest of the cast seem perfectly suited for their roles. Craig Gillespie's direction and Tatiana S. Riegel's editing keep things slightly off-balance, so you're not always sure what is going to happen next. "I, Tonya" is definitely not your standard biographical film. This film is definitely not for the faint of heart.

This timely documentary feels like it is ripped from today's headlines. It puts a human face on the worldwide refugee crisis. The director Ai Weiwei takes us on a journey to various parts of the world (mainly Europe and the Middle East) where we get to hear the moving stories of the refugees themselves. A bit overlong at two hours and twenty minutes, the film is very compelling nonetheless.

If you're looking for a film to just pass the time, you could a lot worse. It's competently made with well orchestrated action sequences, decent performances, and a few memorable lines of dialog. Other than that there is nothing to write home about. As long as you're not expecting the film to be on the level of "The Seven Samurai" and the first "Magnificent 7," you won't be disappointed.

In an era of movies dominated by remakes, reboots and generic by-the-numbers filmmaking, it is so refreshing to see a movie like, "The Fits." Unlike typical Hollywood fare, "The Fits" assumes the audience has some intelligence and doesn't need every detail to be explained completely. The film also utilizes a distinctive visual style that immerses you into the world of the protagonist. It also sets the location in a very specific place (Cincinnati, Ohio). The film is essentially a character study of Toni (played by newcomer Royalty Hightower), a tom boy who spends her free time in the boxing gym with her brother. During one of her training sessions, she becomes intrigued by a dance company that practices nearby. In a typical Hollywood movie, the story would be about how Toni struggles to blend in with the group and would culminate with her helping the girls win the big competition, but not here. Like many films of the American New Wave or early West African Cinema, "The Fits" is less concerned about the machinations of a conventional Hollywood narrative and focuses instead on Toni's journey of self-discovery. Throughout the movie, the camera focuses almost entirely on Toni. This is most evident in the dance rehearsal scenes where the adult characters in particular, are kept mostly in the background. A viewer's appreciation for this film is directly proportional to how interested you are in the life of an 11 year old black girl. If you are, the film is immensely satisfying and thought-provoking. If not, you'll quickly become bored and frustrated with the movie. A lot has been made of Royalty Hightower's performance. She is very photogenic and meets the physical and emotional demands of the material very well. However, she is not the only reason to watch this movie. Alexis Neblett as Beezy, one of the new girls with dance company is also a joy to watch. She brings an energy and youthful exuberance to her performance, that one doesn't often see in standard Hollywood fare. Significantly, the kids in "The Fits" look and act like real youngsters, not a Hollywood version of them. At least some of the credit must go to first-time director Anna Rose Holmer to eliciting some fine performances from her cast. Another striking aspect about "The Fits" is its score by Danny Bensi and Saunder Jurriaans. Minimalist in many respects, the score is highly effective and even menacing at times. Overall, the film is technically well-made. "The Fits" is clearly not for every one. If the mention of the latest Hollywood reboot excites you or if you're looking for a movie with predictable plot points, you're best to look elsewhere. However, if you're looking for a film that allows you to think and feel for yourself, "The Fits" is definitely worth a look. Just remember to approach the film with an open mind.

An intimidate portrait of the enigmatic Nina Simone. Utilizing rare interviews, entries from her diaries and recollections from people who knew her, this film goes about as close as one can expect to reveal the essence of Nina Simone. Whether or not you're a fan of her work, "What Happened, Miss Simone?" is a fascinating character study.

First and foremost, "Beyond the Lights" is a sweet love story. Like "Love & Basketball" before, in "Beyond the Lights," Gina Prince-Bythewood uses a love story to make a comment on the role of women in the world. In "Love & Basketball" she was essentially commenting on the impact on women of Title IX. In "Beyond the Lights" she uses the Noni Jean character to comment on the media's objectification of women (specifically women of color) and how to some degree women help perpetuate it. She makes these comments without being heavy handed or preachy. Once again Gugu Mbatha-Raw (who was recently seen in "Belle") gives a solid performance. The perfect date movie.

In this day and age, it is rare to see a film that doesn't look like it was shaped from a cookie cutter. "Birdman" is a breath of fresh air, much in the same way as "Being John Malkovich" and "Her" were when they came out. From the first scene until the last, "Birdman" moves in unexpected ways. Like any film, you can nitpick here and there, but I'll take a film that takes chances like this over 90% of the mediocrity that Hollywood spews out every year. The cast is first rate. A lot has been said about the performances of Michael Keaton, Edward Norton and Emma Stone in the film, but Naomi Watts is also very good. I don't understand why she isn't getting the same Oscar buzz as the other three cast members. Alejandro González Iñárritu has done it again.

A near pitch perfect film with fine performances by Miles Teller and J.K. Simmons. The filmmakers take a story that could have easily been cliche-ridden or just plain boring and found a way to keep the audience engaged all of the way to the end.

If all you like are loud, special effects driven films, you should probably avoid "Life Itself." For the rest of us, this film is well worth seeing. It is a balanced, yet loving tribute of one of the 20th Century's most influential film critic. Hagiography the film is not, highlighting Ebert's many faults along with his achievements. The film includes interviews with his critics along with his many fans.

With so many films feeling so flat and homogenized, it's refreshing to experience a film with such energetic and complex performances. Mathieu Amalric and especially, Emmanuelle Seigner are so engaging, you almost forget that you are essentially watching a filmed play.

When I saw the original film, "Think Like a Man," I was pleasantly surprised. While by no means a groundbreaking film, it at least had a coherent point of view. It was also entertaining in the way it explored male-female relationships. Unfortunately, "Think Like a Man Too," is several steps down from the original. Rather than expanding on the original in its exploration of romantic relationships, the sequel relies too heavily on Kevin Hart's frenetic energy and the Las Vegas location to carry the film. Most of the humor is fairly lowbrow with tasteless jokes referring to people's skin color and body odor. Like many of Tyler Perry films, this Will Packer-produced movie relies too heavily on cliches and stereotypes. The characters are largely self-absorbed and lacking in dimension. While the film has a few mildly humorous and even tender moments, they are mostly drowned out by one outrageous scene after another.

In a departure from his previous efforts, Tyler Perry tries his hand as an action star in "Alex Cross" with mixed results. Playing the title role, Perry gives a credible if unremarkable performance. Just like his previous performances in his own films in non-Medea roles, his acting lacks range, subtlety or depth. Rather than create a nuanced performance Perry indicates his character's emotional state through obvious gestures such as nose flaring and tearing of the eyes. On the story front, "Alex Cross" is a generic buddy cop film with Edward Burns as his partner. As typical of buddy cop films they are an exercise in contrasts. Perry is the sensitive family man that's not afraid of showing his emotional side while Burns is the macho ladies man. Much of their exchanges involve banter along predictable lines. Perhaps the best thing about the movie is Matthew Fox as the main villain. A complete sociopath, his character is the perfect antagonist for the emotional Perry. For fans of action films, Perry's Cross might be a little too much in touch with his feminine side. Also, Perry, while a big guy, lacks the athleticism to make his more physical scenes interesting. This is the most evident in a climatic fight scene. It is shot in a very stylized way as if to hide Perry's lack of brawling skills. With the exception of one particularly gruesome torture scene, the PG-13 rated "Alex Cross" is pretty tame for an action film. Tyler Perry fans aside, "Alex Cross" is best for video and only after other choices have been exhausted.

"The Words" is by no means a great film, but it is not a dreadful film either. It tells the story of a struggling writer (Bradley Cooper), who is faced with the choice to pass off another writer's novel as his own. Because so much of the story rests on the writer's thoughts and not on his external actions, the material does not lend itself well to a visual medium like film. Also in a day and age where publishing is dominated by nonfiction, novelizations of movies and genre fiction, it's hard to image someone risking so much in the pursuit of wealth and fame as a novelist of literary fiction. Rather than pass a novel as his own, more likely someone would use a novel as the basis for a screenplay, where it could be potentially sold for a substantial amount of money. With rare exceptions, the goal from the sale of literary fiction would more realistically lead to a professorship at a prestigious university. However, given the limitations of the story, the filmmakers do their best to make it visual and to subvert expectations. In other words, the story doesn't always go into an obvious direction, but without going into specifics, it doesn't always follow a logical path. For those yearning for something a bit smarter than the average mass market pictures, "The Words" is worth consideration. The cast including Cooper do a good job given the limitations of the material. Zoe Saldana is totally underutilized in the film. She is relegated to the "supportive wife" role where most of her scenes involve her either flirting or encouraging her beau in some way.

If it weren't for the great special effects and a few guilty pleasures, "The Avengers" would be a complete snooze-fest. A generally solid cast as well as the 3D imagery were woefully underutilized. For all the film's frenetic energy, there was little in the characters and the plot for the viewer to invest emotionally. In short, the sum was less than its parts in this overlong spectacle from Joss Whedon.

What could have been a dull biography of Bill Wilson, the co-founder of Alcoholics Anonymous is brought to life through rare photos, archival footage, dramatic recreations and thoughtful interviews. The documentary is particularly clever in its use of interviews with recovering alcoholics. The interviews help you get a better understanding of not only Wilson, but the struggles of alcoholics in general. The film also does a good job in addressing the issues faced by any growing organization. Documentary buffs and fans of character driven stories should seriously consider giving this film a look.

Easily the weakest of Stillman's first four features, "Damsels in Distress" plays like an odd Ivy League reworking of the 1980s cult film, "Heathers." The problem lies with the Violet character (played by Greta Gerwig). Violet is strange to the point of suggesting mental illness and without a strong access character to counterbalance her the audience is left with no one in which to identify. The closest we have to that character is Lily (Analeigh Tipton), the new girl in Violet's social circle, who sees her with fresh eyes. Meanwhile, the other ladies, Heather (yes, Heather) and Rose are woefully underdeveloped characters. They have no significant role in the plot, except perhaps serving as eye candy for campus frat boys (and the audience).