'To Hell and Back' Stumbles Over Its Disparate Elements
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By John Von Rhein, Chicago Tribune  Jun. 8--It no doubt sounded like a smashing idea at the time.
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A revisionist miniseries tells the other side of Star Trek stories. In Table of Malcontents.
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Boundaries of geography, genre and taste are tested and occasionally trampled in the ninth edition of Film Comment Selects.
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Flaming skulls, cheesy acting, satanic motorcycles -- what's not to like? In Table of Malcontents.
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The film does, in a way, remind us of the old one.
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It has been well recorded that the mid-nineties are best known for sudden popularity of independent cinema, but independent from what? The term "indie" is as slippery when applied to films as it is to music. The studio at the vanguard of this "revolution" was Miramax, which was long a subsidiary of Disney, and as for the "revolution" itself, it unleashed more painful and derivative Pulp Fiction clones than it did anything truly revolutionary. It was bled dry, turned inside out, repackaged, and sold back to the masses until it became the paradigm of unhipness. This seems to be the nature of all revolutions, from the Soviets to the Sixties; the bullshit always comes full circle.     While it's easy to be cynical of all so-called revolutions in hindsight, what one can't be cynical about is the intense enthusiasm audiences had for the so-called independent cinema of this era. To every person who ever dreamed of being in the director's chair, it seemed like all one needed to have the new hit movie was a vast knowledge of pop culture, the ability to write pages worth of rambling dialogue, and a Visa card.
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"Flyboys" is a decidedly  old-fashioned war film that reaches for epic sweep but is often  bogged down in cliched drama and two-dimensional characters.
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Sainikudu has a good theme but is essentially wasted.
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The documentary âFired!" contains slivers of shtick that play more as diverting filler than prime comedy material.
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Two disaster movies visit ancient history and the near future to tell disquietingly relevant stories
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Two very different roads to the past are being traveled by two very different actresses in this mildly entertaining, maddeningly disjunctive revival.
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Anders Thomas Jensen's film about the cannibal business is neither high flying enough for the art house nor low down enough for the cult-video shelf.
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LOS ANGELES  - If there's one lesson that should have been learned from Thomas Harris' dipping into the Hannibal Lecter well once too often, it's that backstories detract from the mythos of a character.
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Mike Leighâs play âTwo Thousands Yearsâ is enjoyable, but oddly conceived and structured.
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Dismissing "Racing Stripes" as a paltry retread of "Babe" would be mean, and it's hard to be mean to a movie that's so well-intentioned.
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There are no jokes, there are no laughs, even the toilet humour stinks and there's barely even a plot. The movie doesn't just rehash every overused, college comedy clichÃ© it takes them and demotes the nonsense to new levels of absurdity.
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Beware films with protagonists depicted as vastly more sensitive than their fellow characters. The result may be a crock like âCashback.â