Reel Reviews -- M

Madagascar (--) -- Another animated film suffering from Familiar Voice Syndrome. When will someone realize that when you get big names to voice-over these flicks, they're not creating characters--they're just doing their shtick. And at this point, when we're well down the line of technical brilliance in computer animation, you've got to bring something more to the table than a nice look. This one has amusing moments, but a few laughs are not enough, and the overall story is weak. Mostly, this trip to the jungle is a very tame ride. Posted 4/21/07.

Made (~) -- The Swingers boys--Favreau and Vaughn--hook up once more for some comic stylings; this time they're small-time hoods in over their heads. It's satisfying, especially if you like your humor dry and sardonic (and laced with foul language); in that case the 'squiggly' turns into a 'plus' for you. But I suspect a lot of folks wouldn't "get" this, so the recommendation is tempered. Posted 6/26/03.

The Magnificent Ambersons (+) The often interesting, occasionally riveting second film by Orson Welles and his Mercury players. Many of the brilliant touches first seen in Citizen Kane show here as well, though without the larger than life story to inflate such work in the viewer's consciousness. Here the tale is one of heartbreak's toll, and the impact is more subtle. It's not a complete success--Welles apparently did not have complete directorial control, leading to the sacrifice of almost an hour's worth of scenes--and it won't be to everyone's taste, but film buffs probably owe themselves a look. Posted 1/20/06.

Magnolia (+) -- A bit overwrought, and the interwoven stories can be difficult to keep straight, but the ultimate payoff is worth it. Who came up with that whole frog idea? (Watch it; you'll understand.)

The Majestic (+) -- There are deep wells of pain beneath this seemingly genial movie. Not just in its presentation of America's history of betraying its principles, nor the recognition of the cost in sorrow that war can wreak on those who survive, but also in the simple nostalgia (in the word's truest sense: an ache for home and the past) over how different we are from the nation that once was. This is a tough call; not everyone will respond to its vision and presentation, but I think those who do will find it worthwhile. Posted 2/24/03.

A Man For All Seasons (+) -- Yes, good things did happen before you were born--or at least before I was born. It won Best Picture, and I for one wouldn't argue--wonderfully written, well-acted, and beautifully staged. And Thomas More's dilemma--sadly--remains relevant to this day. Posted 10/1/02.

Manhattan Murder Mystery (--) -- A tepid work--something all too typical for recent Woody Allen. Not enough good jokes to make it worthwhile.

Man of Steel (+) -- A surprise, in that it was much better than I thought it would be. By this point the Superman story is so played out that it seems impossible to make a movie out of it that will actually have any ability to impact the viewer, yet this one does so. The film accomplishes this by tapping into the fundamentals of the story--Superman being clearly the most messianic of all the comic book stories--and laying bare the reason why these movies have become such a huge part of the zeitgeist: our growing desperation and ever-burgeoning desire for someone to come and save us. It’s almost heartbreaking, in that sense, since we don’t live in a movie and can’t expect such a person to truly arrive--but at least we have these few hours of film during which we can dream that dream. Posted 1/31/14.

Man On Fire (~) -- There's great temptation to chalk this up as a waste of some fine actors. Certainly, the movie suffers from an all-too-familiar ailment: a director who's way too in love with himself to pull back from the visual shenanigans. Then again, there is a lot of visceral pleasure in watching Denzel's washed up badass violently go to town on the meanies. If you're in an angry mood, you might find this appealing. Posted 3/8/05.

Man On The Moon (+) -- Andy Kaufman's career in all of its shining, tarnished, and shining glory. Jim Carrey's performance is dead on, and the classic bits are still howlingly funny. It may be another twenty years before someone pushes the envelope like Kaufman did; in the meantime, we have this to serve as a very good reminder of where the goal should be set. Posted 1/17/04.

The Man With The Screaming Brain (--) -- A TV movie, but one starring camp king Bruce Campbell, so it must be worth a look, right? Right? (sigh) Maybe not. Sadly, it looks like Campbell has run his course. This one--which he wrote, starred in, and directed--is a mess: stupid, senseless, and cheesy, with only a few good moments mixed in with the muck. This makes two bombs in a row for Bruce, and this time the shrapnel may have hit something vital. Posted 10/9/05.

Marathon Man (+) -- More than anything else, I took from watching this movie a perspective on the stylistic differences between movie-making today and movie-making of the past (in this case, from 1976). If filmed today, this movie would probably have been hyperkinetic and obvious, with more explosions and a booming soundtrack--and it would have been much worse. As it stands, it's a tidy thriller (though the plot threads take their sweet time in coming together). And the satisfying yet not-exactly-happy ending, within today's context, comes across as unconventional and provacative. Oh, yeah--it has torturing Nazis, too. What more could you want? Posted 8/24/03.

Marvel's The Avengers (~) -- Mmm'okay. I guess. So this is what everyone was pissing themselves over last year? Sure, there are likable characters here--Captain Steve Rogers is an emblematic, admirable hero, plus there's that ever-reliable ton of fun, Tony Stark--but this film has too many "star" players to allow for anything like real character and/or storyline development. Plus all the pissy conflict among the team members--in the face of an immediate, known, deadly threat, no less--rings false. And then the climactic battle sequence is just plain dumb: an orgy of mindless destruction at the hands (claws?) of pan-dimensional but apparently mentally retarded aliens, who seemingly just show up without any particular battle plan, and are beaten back by a mere six beings (albeit superior or greatly equipped uber-beings). This is what stands as today's greatness? Joss, you'd better do WAY better with the next one, or you may wind up being known as the guy who queered the entire deal for everyone. Posted 6/4/13.

The Master (~) -- Here’s a film that seems to have been made with the belief that it is the journey, not the destination, that matters--and a good thing, too, since this story doesn’t seem to really go anywhere. P.T. Anderson is no slouch at the moviemaking thing, and this piece does have its interesting moment. But filmmakers forget, at their peril, that most movie audiences do not want engage in deep introspection; they want to be able to form some kind of bond with the characters presented. That can’t happen here; we never know enough about Joaquin Phoenix’s character to judge him adequately. The mere mechanics of character creation will hold the audience’s attention, and perhaps even admiration, in the hands of a brilliant actor--witness Daniel Day-Lewis in Anderson’s “There Will Be Blood”--but Phoenix does not hit that mark here (nor do his castmates, for that matter). Ultimately, this one falls into the noble failure category. Posted 1/8/14.

Master And Commander: The Far Side Of The World (+) -- An impressive, dynamic, realistic presentation of a terrific story. Sailing the oceans back in the day was no picnic, and this film makes that abundantly clear. That veracity, plus the rousing historical backdrop and fine work from some excellent actors, combine to give the viewer one excellent movie. Not to be missed. Posted 4/7/09.

The Matchmaker (~) -- This should have put to rest once and for all any ideas about Janeane Garafolo's supposed unattractiveness. That's a cute girl, no matter what she might say. Unfortunately, that's not really enough to carry this movie. It isn't bad, just not particularly memorable. There are a few funny moments, but not enough. The romance is all standard issue. And the subplot, about bringing some integrity to an otherwise dissolute politician, never really develops. Not terrible, but you're not missing anything, either. Posted 2/21/05.

Matchstick Men (~) -- The story remains engaging throughout, but there are a few too many hairpin turns from light and breezy to somber and serious. I make this a tough call; you won't want to forget it, but it's not particularly memorable either. Toss a coin. Posted 3/15/05.

Matilda (+) -- Hard to go wrong when your screenwriter is (for all practical purposes) Roald Dahl. This is based on one of his best, and they get it almost exactly right. Mara Wilson is great in the title role, and Danny Devito and Rhea Perlman do a fine job as her loathsome parents. Almost, but not quite, a Best Of All nominee. Posted 9/9/02.

The Matrix Reloaded (~) -- Hard to believe the hippest movie on the planet features a hero who spends most of his time wearing a dress. Sartorial disasters aside, this installment has its moments--some entertaining, some audacious--but not enough of them. As I said years ago, there was really not much more to say after the first movie; they probably should have quit while they were ahead. And don't bother spending brain cells on the philosophical ramblings, unless you get your jollies from tautologies. Posted 6/9/03.

The Matrix Revolutions (~) -- Almost a Plus mark, but it's not quite that good. The story, particularly in the early part, is too muddled; it clears itself up in the end, but not much new is added to the tableau. On more positive notes, the visuals are phenomenal (naturally), the conclusion comes with some unexpected twists, and some of the philosophy is more clearly expressed (and actually fits in the movie, giving the story thought-provoking dimensions). And the final confrontation even evokes something of Ragnarök--a nice touch for us mythology fans. Final analysis: not great, but nothing to be ashamed of. Posted 12/31/03.

Max (~) An odd movie to watch, not for its content, or philosophy, or performances--more for the whole, inconsistent package. Director Menno Meyjes shows a strong visual style, and an intriguing willingness to let a scene play out in silence. The screenplay includes some interesting expressions of artistic philosophy, particularly in the exchanges between Noah Taylor's young Adolf Hitler and his Jewish, quasi-friend art dealer Max Rothman (John Cusack). The film crackles when they are on screen together. Otherwise, the pace is slow and the performances ordinary, and some of the philosophical underpinnings of Nazism are presented in a ham-handed fashion. Probably worth it for history buffs (though this is fiction) and those with an artistic bent; others might not want to bother. Posted 2/14/06.

Mean Girls (+) -- Oh, Lindsay! This should have been an enjoyable comedy about teen/high school culture. Instead, when viewed a few years after release, it must be seen as an exercise in 'what might have been.' You were good then, giving a real nice performance in a movie with strong supporting actors and a fine script. It should have been just left at that, but more recent facts inevitably intrude upon that early promise. I guess we'll always have this film to remind us of better days. Posted 5/9/09.

Mediterraneo (+) -- A sweet, meditative, almost philosophical war comedy. There's plenty of Mediterranean charm (both Greek and Italian), and enough je ne sais quoi to get you wondering. Well worth a look. Posted 7/18/06.

Meet Joe Black (~) -- Unlike everyone else, I did not hate this movie. It's not wonderful, and it's a little too long, but it has appealing actors and a decent story. You could do worse.

Meet The Parents (+) -- Not as good as the hype made it, but still pretty damn funny.

Melinda And Melinda (--) -- Two divergent and competing story lines feature smug, pretentious, rich New Yorkers vs....smug, pretentious, rich New Yorkers. Perhaps that wasn't the wisest choice. But this one has problems from the ground up. The movie presents a concept story, one that may have merit in its own right, but all concepts take place within a context, here that context really works against the tale(s). The Architectural Digest interiors, the profoundly elite lives and professions of the cast, the insular feel of the presented milieu--all are distracting and work to hamper the viewer's appreciation of the philosophical puzzle being put on display. Worse still, the stories have their own share of weaknesses: the dramatic events seems shallow and unimportant, the comedic turn comes across as bland, unfunny and lacking in true wit. Both threads suffer from weak, stilted writing, and feel artificial, flat, and too "inside" to appeal to most viewers. Top it all off with the violently unfunny Will Ferrell pretending to be Woody Allen--a tired act we've seen before, and done better by better actors--and the movie comes up short in every facet. This film would have been an inferior effort from a first timer; from writer/director Allen, it's a disaster. Posted 6/23/07.

Memento (+) -- The moral of this story: sometimes you can't even trust yourself. That's not a bad thing to keep in mind, even if your short term memory is not on the fritz. Besides that, this one is clever enough; you almost certainly will get lost in the rewind narrative at least once, but don't sweat it. And Guy Pearce once more makes the case that he's the Aussie with the heavy-duty acting chops. Posted 7/5/03.

Men In Black II (~) -- Well, it's not the utter waste of time it could have been. And what it lacks in originality it certainly makes up for in brevity (gotta love a movie that barely clocks in at 90 minutes, especially in these overblown days). Mostly, it supplies a decent number of smirk-worthy moments, and if you expect no more than that, you'll do fine. Posted 11/28/04.

The Men Who Stare At Goats (~) -- That title? Dynamite. This movie? Well...more like a sparkler; it seems like it'll be fun, but then you start the thing and it just sits there, throwing off the occasional gleam of something good, but never really lighting things on fire. A good cast does perfectly fine work, but they don't have enough good material to really make this flick fly. The biggest takeaway is the idea that a documentary on the movie's germ of truth--weird military experiments into the psychic--would have made for a better, more interesting film. Posted 7/15/11.

Michael Clayton (+) -- The impressions grow throughout the running time: disparate, unconnected, confusing--though still interesting enough to hold the attention. And then it comes together in the climax, the plot's blurred lines resolving into a final, striking image in the film's jaw-dropping denouement. You're left with a terrific walk-away movie--something you're thinking about long after you've walked out of the theater or turned off the DVD player. Not to be missed. Posted 5/9/09.

Midnight in Paris (+) -- A work of singular irony, in that the most retro--some might even say backwards, or stuck in the past--of all filmmakers, Woody Allen, has made a movie that ultimately celebrates forward motion and moving on to new things in life. So much for context. The film itself, in terms of story, characters, and presentation, is fine, maybe even better than fine, though lightweight enough that it has little impact beyond a cute and clever way to kill a couple of hours. There is the barest subtext, fitting for these times, about the awfulness of rich people, and why Owen Wilson's protagonist is better off making the choice he eventually makes--but there's no ringing declaration made here. This is, after all, just a movie--one good enough that you should give it a look, if not an award. Posted 12/15/12.

Midnight In The Garden Of Good And Evil (~) -- Not so bad for the performances, but overly long, tepid in execution, and unfocused. The strongest part of the story centers on the relationship between the two main characters; when John Cusack and Kevin Spacey are on the screen together, the movie is much more interesting. Unfortunately, there's way too much sideshow here. Posted 1/17/04.

A Midsummer Night's Sex Comedy (~) -- This is a comedy; it says so right in the title. A sex comedy, no less. It's also a Woody Allen movie, from back in his more consistent days. So why is it so banal? The writing is occasionally funny, and it's gorgeously shot, but it never really catches fire. In fact, the most amazing thing in this movie is Tony Roberts's helmet-like hair. Posted 7/14/03.

A Midsummer Night's Dream (~) -- Shakespeare on the screen, so naturally I was ready to love it. The film isn't bad, but the performances and presentation are too uneven to draw a rave from me. Watch it if you're one of those cultured types who has to see every adaptation, but otherwise you may be better off going to a local staging of the show. (Note: I can't remember which version this is. I think Calista Flockhart is in it, but I'm not sure. You're on your own here.) Posted 9/9/05.

A Mighty Wind (+) -- Christopher Guest is still pumping out the parodies; this time '60s folk music gets the treatment. This one's a little more uneven that prior efforts, but the laughs it does have are extremely effective when they come. Special mention goes to Eugene Levy, who never breaks from a very weird character, even when the temptation to go nuts had to be there. Posted 4/30/03.

Million Dollar Baby (+) -- A great film for gruff humor. But then again, its calm and reflective tone casts a spell over the viewer, slowly drawing you in to its hidden world. The constant voice over narration gets irritating after a while, though it's forgivable when you get to the end and realize there was a reason for it all along. The story does take too long to get to its point at the climax, but the strength of the tale and solid performances overcome any issues. Worth a look. Posted 6/10/06.

Mimic (~) -- Eh...it won't kill you, but it won't excite you either. Besides, everyone already knows the roaches in New York City are big, mean and pushy...whether they're riding the subway or not.

Minority Report (~) -- The story holds together, which is more than can be said for a lot of sci-fi flicks. Cruise and his castmates acquit themselves well, but something never quite clicks with the movie as a whole. It may be the creepiness of the obvious contempt for personal freedom shown by the operative premise; though the story rebuts that premise, it seems to do so almost by accident, not for any philosophical reasons. And the product placements are absolutely grotesque for being so blatant. Posted 9/7/04..

Miracle (~) -- This is close to heresy, giving this movie the squiggle. It got a lot of critical acclaim when it hit the theaters, and it's hard to go wrong with one of the most compelling athletic stories of the 20th century. And it's not like I didn't enjoy it. But the hard fact is, there are plenty of sports movie cliches in Miracle, more than enough to drag it below the level of great moviemaking. And Kurt Russell's performance is strong, but if you don't remember the real Herb Brooks--the situation most viewers will be in--it's hard to say how well he captured the man. It's good, but could have been better. Posted 11/5/05.

Miss Congeniality (+) -- Sandra Bullock, doing what she does, which is be fun and appealing. Don't expect too much, and you'll go away satisfied.

The Missing (~) -- Half of a good movie. It's most interesting during the scenes between Tommy Lee Jones's "gone native" old man and his estranged rancher daughter, played by Cate Blanchett. That tense dynamic always keeps it interesting. Less successful are the scenes involving the missing daughter/granddaughter and her captors. Rather than add to the drama, the plain presentation of the captors and their evil leader actually detracts from the movie--it's much more intriguing when the girl just vanished into thin air. But it's not a total loss. Call it a toss up--watch if you have the time. Posted 11/1/05.

Mission To Mars (~) -- Much like the titular planet: lifeless and kind of stale. But a good cast gives it a few decent moments.

Moneyball (+) -- This is a really great movie, if you know nothing about baseball. If you do know a thing or two about baseball, it's still good, but there's a real mountain to climb in trying to separate the fact from the fiction, to ignore all the stuff that the movie ignores and take it for what it is--which is a highly fictionalized, very narrowly focused version of what happened with the 2002 Athletics. It is, perhaps, a tribute to the skill of the filmmakers that even a very involved fan can see beyond those limitations and still find a very enjoyable movie. Your personal history will decide how you perceive these two-plus hours of cinema. For this viewer, it was like a double play turn at second: the second baseman may have been off the bag, but the "neighborhood play" gets him the call. Posted 12/15/12.

Monkeybone (~) -- A movie about a man in a coma, which is strangely lifeless. I guess synergy does work. All the creative juice went into the visuals here; they are occasionally interesting, but that's barely enough to pull you in. At least the easy-on-the-eyes Rose McGowan is present. Brendan Fraser and Bridget Fonda can do better, and the Z-grade rest of the cast adds little to the mix. Mostly, there's just a feeling that this should have been much better than it is. Posted 8/16/03.

Monster (~) -- Lifestyles of the poor and infamous. Charlize Theron's performance may be showy, in a reverse sort of way, but the overall film is uneven in its story and questionable in its appeal. It's hard to get into a tale about a thoroughly unsympathetic character, even if her failings are arguably not all her fault. Sympathy is a key element, even for a villian; especially so if the villian is the key character. Posted 7/18/05.

Monster's Ball (+) -- One of the most melancholy movies I have ever watched. But that's not a pan, just the nature of the beast. Despite its heaviness, the story ultimately gets past all of its pain, anger, and sorrow to bring us somewhere near redemption. Not to be missed by any serious film watcher. Posted 1/24/03.

Monsters Inc. (+) -- The nice part about watching this movie: listening to the terrified screams of children, of course. All cynical humor aside, this really is an entertaining and amusing bit of animated schtick. It's well-designed--naturally; Pixar has the template down pat by now--and witty, without trying too hard to be hip and "now"; i.e., no surfer- and/or jive-talking characters. Just funny stuff. Posted 7/11/03.

Monsters University (+) -- I watched this flick with little enthusiasm at first--I have an established bias against these later Pixar movies, for various reasons--but gradually I warmed up to this one. The story hit every college movie cliche imaginable, but the movie eventually comes out on top despite its deficiencies, mostly because of plenty of good gags and jokes, and one fairly unexpected twist towards the end that redeems a lot of the triteness. Posted 3/9/14.

Moonrise Kingdom (+) -- More cinematic mischief from the Quirkmaster General. Like other Wes Anderson movies, this film should be too precious and self-aware to be impressive, yet once again the final product is not just offbeat, but funny, charming, and highly entertaining. And if that’s not enough, this flick would be a delight based on its brevity alone--the end comes long before you’re ready for it. Most definitely worth a look. Posted 5/31/13.

The Mothman Prophecies (~) -- It tries a little too hard to engage the viewer. The movie's a bit creepy, but nothing you can't handle. See it if you have the time. Posted 1/23/03.

Moulin Rouge! (+) -- It succeeds despite itself. I wasn't sure what to make of it...and then Ewan McGregor began singing "Your Song," and I was hooked. He's great, and Nicole Kidman holds her own, but the real star is director Luhrmann's staging and direction (particularly the art direction, with the "3D postcard" views of Paris). And it gets better upon repeated viewing. A "Best Of All" inductee. Posted 10/1/02.

Mouse Hunt (~) -- If you're a fan of Nathan Lane...if you're a fan of animal movies...knock yourself out. Otherwise, you can probably skip it.

Mr. Blandings Builds His Dream House (~) -- You get the feeling that this movie should have been better than it is. A better narrative structure might have helped. We don't really need the narration--just give us the story straight, please. Then again, you get to spend a couple of hours watching Cary Grant, doing his usual comedic best, so that's nothing to sneeze at. Posted 5/30/05.

Mrs. Parker And The Vicious Circle (--) -- Strange that a movie about Dorothy Parker and the other wittys of the Algonquin Round Table could be so boring...and yet, here's your proof.

Much Ado About Nothing (+) -- There’s a hoot to be had here, to be sure, if you’re a Joss Whedon fan from way back. And yet, there’s also the undeniable brilliance of Shakespeare at work in this piece, showing yet again that the genius shines through no matter how much any producer or director or cast seeks to cloak the bard’s work in his/her/their own personal style. Shakespeare wrote for the ages, and the power of both his words and his sense of story takes what might have been one Hollywood clique’s mere vanity project and elevates it into a truly delightful experience. Posted 1/8/14.

Mulan (~) -- Not especially interesting; certainly not up to the usual Disney standard. Eddie Murphy as the dragon was much more successful--playing basically the same role--a few years later in Shrek.

Mumford (+) -- Nice, quirky little story of a small-town psychologist who isn't exactly what he seems to be. Amusing and momentarily poignant. And it makes a pretty good case that psychotherapy isn't all it's cracked up to be, either.

The Mummy Returns (~) -- Not quite as amusing as the first one (which I liked a lot). It never really has that spark, though it does get more interesting when the story begins to refer more closely to the backstory of the previous flick. And the stuff with The Rock and the "Scorpion King" is mostly retarded. Posted 4/4/03.

Munich (+) -- Moral ambiguity and bad fashion collide in 1970s Europe. Spielberg tells us old news--revenge is an ugly and dehumanizing business--but does so with all the skill you'd expect from an acknowledged master of the medium. Tremendous attention to detail, an inherently fascinating story (the aftermath of murders at the '72 Olympics), and strong performances stand as the film's strongest selling points. There are a couple of minor problems (the washed-out cinematography is distracting, and the film runs just a little too long), but nothing to pull down the overall rating. Oh, and pay close attention to the final shot--if you don't, the maker's message might totally go to waste. Posted 3/28/07.

The Muppets (~) -- This is a very difficult call. Today's kids will undoubtedly be able to enjoy this movie in a very straightforward way, but if you're old enough to remember the original Muppet Show--and those people are in many ways this film's intended audience--watching this movie is very much a mixed bag. A lot of the film is a downer--a necessary component, perhaps, given the fall-and-rise plot--but still, this story can be surprisingly depressing. It's very easy to get caught in memories of the faded glory that was our youth, and that's a harsh juxtaposition against the presumably light-hearted romp a Muppet movie should be. But then again, it is the Muppets, and there is still something there, in those characters, in the very idea of the Muppets. You probably should watch it, but just go in knowing it may not be what you expect. Posted 1/21/13.

My Big Fat Greek Wedding (~) -- Sure, it has its funny moments. And it has its charming moments. Maybe that's enough for you. (It is for most people.) But a few noticable elements--the cardboard portrayal of the groom's parents, the reduction of his friend to a hoary, cliché punchline--render the "love conquers differences" theme into a superficial and narcissistic idea. Most wouldn't notice this, but it makes a potentially fine movie into something less than it should have been. Posted 9/12/04.

My Darling Clementine (~) The key takeaway here is the reminder of how good, how versatile Henry Fonda was as an actor. His Wyatt Earp here covers a lot of range, from calm to courtly to hardass, and all of it seems real and natural. The overall movie suffers from misplaced elements--some of the stabs at humor, including recurring jokes, feel out of place in the broad range of the plot--and that pulls the rating down, despite an otherwise satisfying Western adventure. Posted 2/7/11.

My Dinner With Andre (~) -- An interesting idea for a movie: two guys just talking. A must see if you want to have all of your proper intellectual credentials in order. But it won't hold the attention of most people. It probably needs to be seen several times in order to digest everything (pun intended).

My Dog Skip (+) -- A very charming movie. Frankie Muniz before he was Malcolm, and good supporting work from Kevin Bacon as the dad. One of those rare "family" movies that's nice, but doesn't drown in treacly sentiment.

My Man Godfrey (~) -- Screwball comedies should be a little more--oh, I don't know--comedic. This one is about halfway there: not hilarious, but it hits the mark with a regular set of howlers. There's also a taste of social commentary running through the film, though even in its most explicit appearances it remains underdeveloped. The cool presence of William Powell helps the proceedings immensely, and that fact raises the bar high enough for a tentative recommendation. Posted 1/20/06.

Mystery, Alaska (+) -- Simple, yet sweet--very straightforward, and in this case that's enough. It could almost be for hockey fans what Field of Dreams is for baseball fans. And there is a tremendously important lesson to be learned from the ending. Posted 10/1/02.