Rated:PG-13 Sauron's forces have laid siege to Minas Tirith, the capital of Gondor, in their efforts to eliminate the race of men. The once-great kingdom, watched over by a fading steward, has never been in more desperate need of its king. But can Aragorn (Mortensen) answer the call of his heritage and become what he was born to be? In no small measure, the fate of Middle-earth rests on his broad shoulders. With the final battle joined and the legions of darkness gathering, Gandalf (McKellen) urgently tries to rally Gondor's broken army to action. He is aided by Rohan's King Theoden (Hill), who unites his warriors for history's biggest test. Yet even with their courage and passionate loyalty, the forces of men--with Eowyn (Otto) and Merry (Monaghan) hidden among them--are no match for the enemies swarming against Gondor. Still, in the face of great losses, they charge forward into the battle of their lifetimes, tied together by their singular goal to keep Sauron distracted and give the Ring Bearer a chance to complete his quest. Their hopes rest with Frodo (Wood), a tiny but determined hobbit making a perilous trip across treacherous enemy lands to cast the One Ring into the fires of Mount Doom. The closer Frodo gets to his final destination, the heavier his burden becomes and the more he must rely on Samwise Gamgee (Astin). Gollum-and the Ring itself-will test Frodo's allegiances and, ultimately, his humanity. "The Lord of the Rings: The Return of the King" concludes the epic story of these characters, their relationships and rivalries, and reveals how through courage, commitment and determination even the least of us can change the world.
Rated:PG-13 1953 America was a time ripe for change for women and when Katherine Ann Willis (Julia Roberts) arrives to teach Art History at Wellesley College, she finds the institution drowning in outdated mores. While the nation struggles with the fears that accompany a shifting political culture, the powers that be at Wellesley seem to want to re-corset the women who had been the backbone of the World War II workforce just a few years earlier. A passionate educator, Katherine takes on the establishment and in doing so, deeply affects her students who in turn lead her to alter the course of her life forever.
Rated:PG-13 Chris and Annie are the best of friends – very different, but very close. Living in a small village in the Yorkshire Dales, their peaceful lives are shattered when Annie’s husband dies of leukaemia. An active member of the local Women’s Institute, Chris enlists the support of her fellow members in a fund-raising initiative for the local hospital. Her seemingly traditional idea is to produce a calendar, with a different woman photographed for each month. Each one will be engaged in a classic WI task, such as jam making, flower pressing and knitting. Sounds traditional enough, but her idea has a radical twist - the women will be in the nude. Before they know it, the women are hitting the headlines at home and abroad. Whisked off to Hollywood on a whirlwind publicity tour, they take their turn on the talk shows and in magazine photo-shoots. Amidst the hype and glamour, the friendship between Chris and Annie is put to the test.
Rated:PG-13 The Fog of War, a new film by Errol Morris, is the story of America as seen through the eyes of the former Secretary of Defense, Robert S. McNamara. One of the most controversial and influential figures in world politics, he takes us on a insider’s journey through many of the seminal events of the 20th Century. Why was the this past Century the most destructive and deadly in all of human history? Are we doomed to repeat our mistakes? Are we free to make choices, or are we at the mercy of inexorable historical forces and ideologies?
Rated:NONE By creating "The Hebrew Hammer," Kesselman has brought to life a character rarely seen in Hollywood or off-Hollywood films: a sexy and powerful Jewish action hero. Just as such indelible films as Melvin Van Peebles' "Sweet Sweetback's Baadasssss Song" and Gordon Parks' "Shaft" were reactions to Hollywood's inability or unwillingness to portray strong, sexy Black characters in the early 70s, Kesselman's "Hammer" is his way of creating a new hero for a new generation. Like any exploitation film, "The Hebrew Hammer" pitches stereotypes like flaming fastballs at a knowing audience. But it would be wrong to say that Kesselman, by creating a "Shaft" with peyos, is satirizing the Blaxploitation genre. Instead, Kesselman is honoring the genre, proud that he, too has made a picture with a built-in audience in mind.
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