My Movie Review Archive

The Conspirator - C+

2011-04-15T16:52:00.005-05:00

Rated PG-13, 123 minutes

The new Robert Redford film "The Conspirator" tells the story of Mary Surratt, who was convicted of helping murder President Abraham Lincoln and became the first woman executed by the federal government. With an A-list cast, a worthy story and a few compelling moments, Redford's overlong, idealistic film is an intriguing look though it fails to capture a huge emotional connection. Unsurprisingly, Redford and company change some key historical details for cinematic glory. Robin Wright is Surratt, James McAvoy is her attorney Frederick Aiken and Kevin Kline is Secretary of War Edward Stanton. If you're familiar with history, you already know what happens, but Redford wants you to believe that Surratt was harshly convicted so the U.S. Government could heal an ailing country from the Civil War and Lincoln's untimely death. Some of that might be true, though we may never really know what truly happened, ala Oliver Stone's "JFK," though the mildly entertaining "The Conspirator" isn't as ridiculous as that film's theories. A few enjoyable scenes and good performances from Wright and McAvoy highlight the film, though an overlong, uneven tone, particularly in the final act, somewhat dampers the film. Worth a look maybe for history buffs, otherwise wait to rent it.

Wes’s Grade: C+
Worth Seeing: Possibly, for history buffs.

Certified Copy - B

2011-04-15T13:21:00.005-05:00

Rated PG-13, 112 minutes

"Certified Copy" is an original, if not, baffling and intriguing film. Starring the lovely Oscar-winner Juliette Binoche, it's a provocative, engaging film that's part romantic dramedy and part mystery. Binoche is a French antiques dealer and single mother who meets a British writer named James Miller (William Shimell) after a public discussion of one of his books, so he can sign a few copies for her. They then take a jaunt to a small French village where it leads to something far deeper than both had planned. This has a similar feel to the Linklater film "Before Sunrise" in scope and tone, except with a big plot twist that leaves the audience hanging. Directed and written by Iranian filmmaker Abbas Kiarostami it's a unique film, which only works because of the actors and not the uneven script. The best part of the film of course is the always luminous, lovely Bincoche, who delivers a nicely shaded turn as the antiques dealer. She and British actor/singer Shimell also have decent chemistry and deliver the material sublimely. "Certified Copy" will leave you to make the final decisions and complete the story yourself, which isn't always a great thing if you don't feel too manipulated. Worth a look, if just to see Binoche and nothing else.

Wes’s Grade: B
Worth Seeing: Yes, but mainly for seeing the always lovely Binoche.

Miral - B

2011-04-15T13:08:00.005-05:00

Rated PG-13, 112 minutes

The dramatic film "Miral" is a compelling portrait of a young girl caught up in the Middle East conflict; I know many who have a difficult understanding a complex subject, but try being in the middle of it. The story centers on an orphaned Palestinian girl ("Slumdog Millionaire's" Frieda Pinto) growing up in the wake of Arab-Israeli war who finds herself drawn into the conflict. She is raised in an orphanage by the opinionated but kind Hind (Hiam Abbass) but as she grows older love draws her first-hand into the difficulties her land faces, but even more important than the conflict her country faces is the inner conflict she has: stand up for what she believes or promote the peace she was taught by Hind. Director Julian Schnabel ("Diving Bell and the Butterfly") skillfully brings out the complexities the Middle East issues bring, and the autobiographical story, based on the life of Rula Jebreal is superbly acted. The downbeat story loses a little focus in the later going, but it's positive message is also a hopeful one. Worth a look to see how this issue affects people in different ways.

Wes’s Grade: B
Worth Seeing: Yes, a complex but downbeat story but Pinto is always lovely to watch.

Potiche - B

2011-04-13T14:21:00.009-05:00

Rated R, 103 minutes
In French with English subtitles.

In French, the word potiche is a term used for “trophy wife.” That is the subject of the entertaining French dramedy “Potiche,” starring legendary actors Catherine Deneuve and Gerard Depardieu. Set in 1977, Deneuve is the wife of a tyrannical factor owner (Fabrice Luchini), a despicable man both personally and professionally. Up until now she’s been a faithful, submissive wife, that is until he is held hostage by his employees and she ends up making some key business decisions for him, with assistance from the town’s mayor (Depardieu), with whom she had a fling years ago. Well-acted, funny and touching, Deneuve, now in her late 60s, is still a marvel as the woman who blossoms under less than ideal circumstances to become the person and woman she was meant to be. Based on a French play, the somewhat conventional story seems an unusual fit for young, unconventional French director Francois Ozon, but the feminist themes are brought out nicely. It’s also a treat seeing veteran French actors Deneuve and Depardieu together, who have a warm chemistry together, it’s worth seeing for that alone.

Wes’s Grade: B
Worth Seeing: Yes, especially for Deneuve and Depardieu fans.

Bill Cunningham New York - A

2011-04-12T23:10:00.006-05:00

Not rated, 84 minutes

Wes's Take:
If you've ever read the New York Times fashion columns over the years, you already know who Bill Cunningham is. He's the one responsible for those pictures of people on the street to show what the current trends are. Now in his 80s, Cunningham still rides his Schwinn bicycle all across New York City taking pictures of people on the street and various events. He's one of the last tenants living in Carnegie Hall; irrepressible and incomparable, he's a respected artist and person in many, many circles. Richard Press has created a detailed, sensitive but amusing portrait of man well-ahead of his time and who has had considerable influence over fashion photography and trends. Cunningham can certainly be a finicky artist, but a person you'd still like to get to know. One of the year's best documentaries about one of the last great American artists.

Wes's Grade: A
Worth Seeing: Touching and funny, one of the year's best docs and a must-see for fashionistas.

Scream 4 - B-

2011-04-10T16:10:00.008-05:00

Rated R for strong bloody violence, language and some teen drinking, 103 minutes

Wes's Take:
Oh, what memories. Just when you thought it was safe to back to the theater, "Scream 4" returns, 10 years since "Scream 3" and with its majors players intact: Courtney Cox, David Arquette, Neve Campbell, director Wes Craven and writer Kevin Williamson, along with some fresh faces including Emma Roberts and Hayden Panettiere. Campbell's Sidney Prescott returns to Woodsboro on the anniversary of the killings to promote a new book, and the killings start happening again. Dewey (Arquette), now Sheriff of the town, and his wife, Gale (Cox), now must help Sidney endure another round of slayings. Bloody enjoyable and tongue-in-cheek fun that's better than the last couple of films in the series. The horror spoofing, is so like, 1990s by now, yet it works best when it doesn't take itself too seriously. There are a few good twists and while the identity of the killers isn't a huge surprise (not to mention the three leads have aged too much for this), you'll still enjoy it far more than you really should. This weathered Clinton-era franchise should probably be put to rest, though that won't happen if the film is a hit.

Wes's Grade: B-
Worth Seeing: Bloody, guilty-pleasure enjoyable, if not a little old by now.

Rio - B

2011-04-10T16:08:00.006-05:00

Rated PG, 96 minutes

Wes's Take:
"Rio" is the colorful, entertaining new animated film from the creators of the "Ice Age" animated films. When Blu (Jesse Eisenberg), a domesticated macaw raised by Linda (Leslie Mann) in small-town Minnesota, meets the fiercely independent Jewel (Anne Hathaway), he takes off on an adventure to Rio de Janeiro with the bird of his dreams. "Rio" is an amusing, energetic tale for the kids that lacks some of the sparkle of the similarly-themed "Madagascar" not to mention the music isn't well-integrated into the film, but it's well-voiced by all, particularly the straight-laced Eisenberg and the always chirpy (no pun intended) Hathaway. Listen for George Lopez and Tracy Morgan, who also provide a few good laughs.

Wes's Grade: B
Worth Seeing: Yes, good family film.

Hanna - B

2011-04-08T04:21:00.006-05:00

Rated PG-13, 111 minutes

Wes's Take:
A mesmerizing, hypnotic chase thriller about a young teenage assassin (Saoirse Ronan) on the run from a CIA agent (Cate Blanchett), who has ties with the girl's father (Eric Bana). "Atonement's" Joe Wright, who directed Ronan to an Oscar nomination in 2007 for that film, skillfully handles the material with excellent performances from all (Blanchett's Southern accent is especially a treat). The moody club-style music is annoyingly overdone, but it adds some nice, stylish touches to the dark but vastly entertaining film, and the breathless ending is a keeper. Definitely worth seeing.

Wes's Grade: B
Worth Seeing: Yes, though a tad intense at times.

Your Highness - C

2011-04-03T10:15:00.042-05:00

Rated R for strong crude and sexual content, pervasive language, nudity, violence and some drug use, 102 minutes

Sloppy medieval stoner comedy "Your Highness" hit-or-miss

"Your Highness" isn't as bad as you think, but it's still not that great. Silly, sloppy and far too long and busy, it's like "Lord of the Rings" as told by Peter Griffin and enacted by Stewie. Admittedly, there are a handful of guilty-pleasure gags and the cast performs well with the improvised dialogue, but it tries too hard (i.e. loads of unnecessary special effects and creatures among other things), as if to overcompensate for the slack, somewhat misogynistic material.

The story concerns two medieval brothers, Fabious (James Franco) and Thadeous (Danny McBride) who have a good life. Fabious rescues a fair maiden named Belladonna (Zooey Deschanel), only to have her kidnapped again by the evil magical Leezar (Justin Theroux). On their quest to save her, they meet up with a tough, hot chick named Isabel (Natalie Portman), who's on her own personal quest to kill Leezar. "Your Highness" is a mildly entertaining, but a mediocre, one-joke premise of a film stretched out too long and on a bigger budget than most in this genre. It's still a buddy-buddy stoner flick comedy, just set long, long ago.

David Gordon Green, who directed both Franco and McBride in 2008's "Pineapple Express" and also works with McBride on the funny HBO series "Eastbound and Down," seems a good fit for the material, what there is of it. McBride, also an executive producer, is credited with co-writing the script, but all the dialogue and many scenes are improvised, which is a mixed bag. Some scenes work better than others (most anytime a creature is onscreen, it doesn't).

McBride is a genuinely funny comedian whose Southern drawl make things sound funnier than they really are, and his comic presence, along with the decent chemistry he has with Franco, faring far better than his recent Oscar hosting gig, is the film's highlight. The women fare worse, but it has certainly nothing to do with looks. The lovely Deschanel is woefully miscast and the toned Portman is underused,in a supporting role smaller than the trailers make it seem (she doesn't even appear until almost halfway through the film).

Throw in some expensive costumes, sets and some amped up, busy special effects and creatures, and it ends up a dizzying, somewhat bizarre mix of comedy and action. It's better than say "Year One" or "Land of the Lost," though in fact that's not saying much, and hopefully it will do better than those films.

The low brow "Your Highness" expects a lot of the audience and is strictly hit-or-miss with all the junk it throws at you. You'll laugh, you'll be offended, likely won't remember much of it after it's over.

Wes's Grade: C

Soul Surfer - B-

2011-04-03T10:15:00.039-05:00

Rated PG for an intense accident sequence and some thematic material, 110 minutes

Inspiring, well-acted true story "Soul Surfer"

"Soul Surfer" tells the true story of Hawaiian teen surfer Bethany Hamilton, who in 2003 lost an arm to a tiger shark while surfing but who continued to make waves by becoming a one-armed championship surfer. Inspiring and well-acted, "Soul Surfer" is a bit too earnest and a tad too long for what it is, but it still manages to tug the heart-strings at the right moments and is a refreshing, suitable family film.

Hamilton (played by Anna Sophia-Robb) is a talented teen surfer in Hawaii born into a surfing family led by Tom and Cheri Hamilton (Dennis Quaid and Helen Hunt). With the talent to be a professional surfer, Hamilton is out practicing with her best friend Alanna Blanchard (Lorraine Nicholson) and her father Holt (Kevin Sorbo) when she is attacked by a shark and her arm is bitten off. With her story gaining notoriety, Bethany is now faced with living life with one arm and must decide if she'll ever get in the water again to surf.

"Soul Surfer" is a touching family film that's a fresh change of pace for those looking for an uplifting family film. Some may not enjoy the faith-filled film, but even with that it should still have wide appeal, particularly with Quaid and Hunt in the cast. Sean McNamara, primarily a TV director of Disney shows, points the film in the right direction, even if the film often has a TV-movie feel to it, particularly with the casting of country singer Carrie Underwood as Bethany's church friend, in her feature film debut. Underwood, a lovely singer but whose acting skills are limited, performs serviceable in a small part.

Sophia-Robb, whose performed in other family films "Bridge to Terabithia" and "Because of Winn-Dixie," is a touching Bethany, and the film pulls the right amount of heart strings, if it does feel a smidgen manipulative. Earnest and suitable, this is one the whole family can enjoy, though this story fits the small screen a little better. Stay over through the credits to see Bethany, along with her family and friends portrayed in the film.

Wes's Grade: B-

Arthur - C

2011-04-03T10:12:00.009-05:00

Rated PG-13 for alcohol use throughout, sexual content, language and some drug references, 102 minutes

Brand muddles way through the mediocre, unnecessary "Arthur" remake

If you haven't had enough of British comedian Russell Brand from last week's dreadful animated flick "Hop," then you're bound to go see him in the muddled new remake of the Oscar-winning classic comedy "Arthur," with Dudley Moore forever remembered as the rich, lovable drunk. It's really just a thinly disguised vehicle to showcase Brand's hit-or-miss schtick to the big screen, and Helen Mirren fans should rejoice that she is by far the best thing about the tiresome comedy.

Brand is Arthur Bach, a rich playboy and heir to a fortune and a business empire currently run by his distant, cold mother Vivienne (Geraldine James). Arthur's mother and her many investors are troubled by his rowdy, substance-abuse induced behavior. Arthur's long-suffering nanny Hobson (Mirren) does her best to keep him in line, to no avail. In order to keep the business in the family and for Arthur to keep his fortune, he has been ordered to marry the business-savvy Susan (Jennifer Garner), who Arthur isn't attracted to, and further complicates matters when he falls for a common working girl named Naomi (Greta Gerwig).

"Arthur" is an unimaginative, needless remake that lacks the utter charm and playfulness of the original, not to mention Dudley Moore and John Gielguld, who won an Oscar for his role. Those are mighty big shoes to fill, and the unconventional Brand would seem an inspired choice for the remake, but whereas Moore was well-loved, Brand is still an emerging, somewhat untested talent who many find offensive. Granted, Brand has a few moments of wit and charm, but otherwise his schtick grows tiresome very quickly.

Fortunately, "Arthur" has the brilliant, Oscar-winning actress in Mirren, who makes Hobson her own and nearly steals the show with her effortless one-liners. Though Gerwig makes for a humble working girl, Garner is miscast in a role that was originated by "L.A. Law's" Jill Eikenberry. Some of the updates to the original work well (Arthur sobering up through AA) while others don't at all (a badly executed love scene with Garner and Nick Nolte, you don't belong here) and by the time it delivers it's shabby, predictable ending, you won't care about the time you've invested with such unsympathetic characters.

"Arthur" could've also benefited from better direction than than newcomer Jason Winer, a TV director whose direction feel very episodic here. Above all, they should've known not to mess with an classic, and the original "Arthur," released exactly 30 years ago this year (my how time flies!), was playful, charming and loads of fun. The calculated, muddled remake isn't nearly as charming or fun. Skip this and rent the original instead.

Wes's Grade: C

Source Code - B

2011-04-01T00:06:00.003-05:00

Rated PG-13 for some violence including disturbing images, and for language, 93 minutes

“Source Code” an intriguing but baffling ride

Just when you thought you had “Inception” figured out after several viewings, along comes "Source Code,” another sci-fi action adventure in that same vein. Thrilling, confusing fun, this is on a far less epic scale than “Inception” and likely less cerebral, but still just as baffling, particularly the heartfelt ending. You won’t figure out “Source Code” in one sitting, but it’s good escapist fun.

Jake Gyllenhaal is decorated army airman Captain Colter Stevens, who finds himself in the body of an unknown man, then discovers he’s part of a secret U.S. military mission to find the bomber of a Chicago commuter train. Over time, he learns he’s actually part of a highly secret government experiment called the “Source Code,” a program that enables him to cross over into another man’s identity in the last 8 minutes of his life in a parallel state. In order to uncover the identity of the bomber, he must relive the incident over and over and piece together clues. In the meantime, he gets to know a girl on the train (Michelle Monaghan) along with his colleague (Vera Farmiga) who becomes his ally in this deadly mission.

“Source Code” is as preposterous as it sounds on paper, but it works as original sci-fi escapist fare due to the engaging performances of leads Gyllenhaal, Monaghan and Farmiga, along with the skilled direction of Duncan Jones, who directed another underrated sci-fi thriller a few years back, “Moon,” and who may be better known as rock legend David Bowie’s son. “Source Code,” much like “Inception,” brings the sci-fi realm to the mainstream, just don’t expect to understand it all. The visuals effects, particularly the huge, jumpy explosions, are the highlight of the film.

On paper, this seems like a dramatic, sci-fi version of “Groundhog Day,” though in fact there’s more to it than that. There are lots of hidden messages and overtones about afterlife and secret government projects, and the more you try to decipher it, the more ridiculously confused you’ll get, particularly the film’s final act, which is a bit anti-climactic and predictable but still enjoyable fun. The romantic subplots aren’t well developed either, but Gyllenhaal and Monaghan make for a handsome couple.

You’ll leave “Source Code” baffled but still entertained. A good time will be had, just try not to figure it out.

Wes’s Grade: B

Insidious - C

2011-04-01T00:05:00.001-05:00

Rated PG-13 for thematic material, violence, terror and frightening images, and brief strong language, 102 minutes

Creepy but uneven "Insidious" has a handful of chills

The new low-budget horror film "Insidious" comes from the makers of the "Saw" franchise, but don't worry, this film is nowhere near as gratuitiously violent and bloody as those films. The film, about a family who is haunted by demonic spirits, has a few good jumps and bumps and evokes a creepy vibe, but it nearly falls apart midway through with an unexpected change in tone that dampers the film's effectiveness.

A successful middle-class family, college professor Josh Lambert (Patrick Wilson) and his songwriting wife Renai (Rose Byrne) move into a new suburban home with their three children, including the precocious Dalton (Ty Simpkins). After Dalton unexpectedly falls on a ladder, he goes into a coma and weird things start to happen around the house with Renai seeing some highly unusual spirits that seem to surround Dalton. After they move houses and with the help of a spiritual guide and family friend named Elise (Lin Shaye), they soon discover the truth about the demons following their son.

"Insidious" is a bizarre, chilly but uneven horror film that starts off well but is hampered by a change in tone midway through that hurts the film. Director James Wan, director and producer from the "Saw" film franchise, directs the film and co-writes with his business partner Leigh Whannell (who also has a small part in the film) with some originality; as a straight horror film the film is chilling particularly in its first half. Less is always more, and the more that's revealed, the more murky "Insidious" gets, not to mention an uneven tone. It goes for more laughs than chills in the last act, an uncomfortable and striking change that throws the film off course.

Wilson and Byrne mix the right effectiveness of parental angst and confusion as Dalton's parents, though the final twists, including the mildly surprising ending and some fuzzy, otherwise ridiculous explanations make their performances an afterthought. Considering the low-budget feel of the production, "Insidious" is not a terrible film and certainly not as bad as it could've been, but it should've stuck to being an honest to goodness horror film instead of the attempts at camp horror, itself a tricky thing.

Worth maybe a look for horror film enthusiasts but you've seen better before.

Wes's Grade: C

Hop - C

2011-04-01T00:03:00.003-05:00

Rated PG for some mild rude humor, 90 minutes

Humans the weakest part of the otherwise amusing "Hop"

Sometimes mixing live action with animation can work into a magical film like "Who's Roger Rabbit?" or a mediocre one like "Alvin and the Chipmunks." The new Easter-themed "Hop" takes on an age-old icon with mixed results, with the human being the weak link. "Hop" is a fun take on the Easter Bunny and while the animation is colorful, the voices are energetic, the humans are as bland as ever, with as much freshness as a week-old candy Easter egg. It would've worked far better without the stale live-action that simply drags this otherwise amusing film down considerably.

The movie tells of E.B. (Russell Brand), a teenage rabbit who on the eve of taking over from his father (Hugh Laurie) as the Easter Bunny, leaves his home in Easter Island for Hollywood to pursue his dream of becoming a drummer, and is hit by Fred O'Hare (James Marsden) an out of work slacker who was driving home. Feigning injury, E.B. manipulates Fred to take him in as he recovers. As Fred struggles with the world's worst house guest, both will learn what it takes to finally grow up, as Fred is pressed to partner with E.B. to save Easter from a evil Easter Chick named Carlos (Hank Azaria) who wants Easter Chicks to be in charge of Easter.

"Hop" is a mildly amusing, colorful take on the Easter Bunny that's hampered by it's live-action and a very very thin story stretched out over 90 minutes. If all of this seems familiar, it's because it's directed by Tim Hill, who did the first "Alvin and the Chipmunks" and the live-action-animated infused "Garfield," neither classics in any genre. As long as the animated characters are onscreen, "Hop" works OK, but when the humans come on screen, the film slows down considerably.

Marsden is a decent actor but he's miscast here; it's simply hard to buy the fact he's a twenty-something slacker and it would've been wiser to focus on the character's sister, played by "Bing Bang Theory's" Kaley Cuoco, younger, prettier and funnier. Brand, Laurie and Azaria all hit the right notes as the bunnies and chicks hashing it out over who wants to run Easter.

It also borrows too many elements from Santa Claus to be truly original. Kids will want to hop down to the theater to see "Hop," especially with Easter on the horizon, and the movie isn't altogether terrible, but it misses the mark more than it doesn't, and overall an unmemorable animated effort.

Wes's Grade: C

Kill the Irishman - B

2011-03-17T22:48:00.007-05:00

Rated R for strong violence, language and some sexual content/nudity, 106 minutes

“Kill the Irishman” an entertaining, gritty look at real-life mafia

“Kill the Irishman” is the entertaining new crime-drama based on real events and real people, and on a “Pulp Fiction”-type level it succeeds grandly. Violently but thoroughly enjoyable, it’s unrevealing and relies heavily on stereotypical mafia types, but it’s superbly acted by some A-list character actors.

“Kill the Irishman” is based on the exploits of a real-life crime boss and FBI informant named Danny Greene (played by Ray Stevenson of “The Punisher” fame here), an Irish-American based out of Cleveland in the 1970’s. The tough-minded but kind-hearted Danny first becomes involved with the Cleveland underworld when he becomes a union boss, including John Nardi (Vincent D’Onofrio), who later becomes a close ally of Danny. When Greene attempts to take a loan with assistance of a local loan shark (Christopher Walken), he angers the wrong people, including a group of Italian mobsters with ties to New York City and it sparks a bloody mob war within the city that garners national attention.

“Kill the Irishman” is a stout, enjoyable true-life crime drama, though it’s unfortunate it couldn’t have been made earlier, before the likes of Tarantino and “The Sopranos” popularized them. It’s based on the 1998 best-selling nonfiction book “To Kill the Irishman: The War That Crippled the Mafia” by Rick Porrello, which is an account of Greene’s life in Cleveland. Writer-director Jonathan Hensleigh (also of “The Punisher”) changes some details of Greene’s life, though it certainly portrays Greene as a colorful, smart character who angered many of the wrong people.

Irish actor Stevenson’s engaging performance as Greene anchors the film, though the highlight is all those creative explosions which pepper the film. It becomes a little redundant after awhile, and some of it is very stereotypical, but you get a sense that these folks actually lived their lives this way. Watch for a host of other A-list character actors who also do a superb job, including D’Onofrio and the always-watchable Walken in a role that’s far smaller than the trailers make it seem.

“Kill the Irishman” is still an entertaining, colorful look at Cleveland mafia in the 1970’s, and the gritty vibe it gives off is worth a look.

Wes’s Grade: B

Diary of a Wimpy Kid: Rodrick Rules - B-

2011-03-17T22:47:00.005-05:00

Rated PG for some mild rude humor and mischief, 96 minutes

“Diary of a Wimpy Kid: Rodrick Rules” a fun family film

“Diary of a Wimpy Kid: Rodrick Rules” follows more adventures of Greg Heffley that’s based on the best-selling children’s books of the same name by Jeff Kinney and is a sequel to last year’s “Diary of a Wimpy Kid.” “Rodrick Rules” is suitable, clean fun and a modest family film, though it’s a little redundant and some younger kids may be easily bored with it.

Our wimpy hero Greg Heffley (Zachary Gordon), now 12 and enters seventh grade , he and his older brother, Rodrick (Devon Bostick), must deal with their parents' misguided attempts to have them bond, for which their mother, Susan (Rachael Harris), will give them “Mom Bucks.” All while Greg tries every attempt to impress his crush, the new girl in town, Holly Hills (Peyton List). Also, he must keep a party Rodrick threw a secret from his parents to avoid getting in both of them in trouble, especially Rodrick, who is looking forward to playing in the big city-wide talent show with his rock band, Loded Diper.

“Diary of a Wimpy Kid: Rodrick Rules” is more of the same amusement and will likely appeal to the fans of Kinney’s book series and the first film, though it all has a TV-series feel to it. It’s enjoyable and sprightly but predictable, and some of it is loose filler, with some gags staged for easy laughs (one bit early on involving a candy bar is one of the better ones). Gordon and Bostick are engaging leads and help the thinly plotted film along. Red-haired chubby Capron nearly steals the show as Greg’s best friend Rowley, who is to Greg as Larry Mundello was to Beaver Cleaver in the 1950’s TV show “Leave It to Beaver.”

As a matter of fact, “Diary of a Wimpy Kid” would play better on the small screen, to the “Suite Life of Zack and Cody” and “iCarly” set, where this type of thing would be seen by more audiences in this demographic and it would end cleanly and more efficiently within 30 minutes. Younger kids might get easily bored with the 96 minute running-time, which is fairly short for a feature film but overlong for what it is.

But you can’t fault “Diary of a Wimpy Kid” in its good messages (be close to your siblings!) and the fact it actually provides decent family entertainment, which seems to be in short measure these days.

Wes's Grade: B-

Sucker Punch - D

2011-03-17T22:46:00.016-05:00

Rated PG-13 for thematic material involving sexuality, violence and combat sequences, and for language, 109 minutes

Listless but visually stunning "Sucker Punch" a hot mess

The awful new fantasy thriller "Sucker Punch" is not a film to be taken seriously on just about any level. The stunning visuals from the director of the action hit "300" easily become the film's highlight along with a handful of well-staged action set pieces, but that can't overcome its ridiculous, lazy plot and the laughable acting of the young pretty actresses who star in the film. Essentially, the film is a mess from start to finish, but there are enough energetic visuals to keep you awake.

"Sucker Punch" is set in the 1950s and concerns Babydoll (Emily Browning), a lovely young blonde who is sent to a mental institution in Vermont by her wicked stepfather following the death of her mother and sister. Retreating to an alternative reality as a coping strategy, she envisions a plan which will help her escape from the facility.

Determined in her fight for her freedom, she urges four other young girls-the outspoken Rocket (Jena Malone), the street-smart Blondie (Vanessa Hudgens), the fiercely loyal Amber (Jamie Chung), and the reluctant Sweet Pea (Abbie Cornish)—to band together and try to escape from their captors, Blue (Oscar Isaac), Madam Gorski (Carla Gugino) and the High Roller (Jon Hamm). Together and with the help of The Wise Man (Scott Glenn), their journey—if they succeed—will set them free.

"Sucker Punch" is an entertaining, hot piece of trash from director and writer Zack Snyder, the guy behind the hit films "300" and "Watchmen." Snyder's unique style and brand of incorporating heavy CG visuals, close-ups and slow-mo action will certainly appeal to the comic con set and likely make the film a hit, but "Sucker Punch" is overall his weakest film, with a slack, confusing story and second-rate acting that hurts the film. Browning, a young British actress and model, seems content with the Milla Jovovich style of acting - poses and pretty looks - that make for a truly bland lead.

Vanessa Hudgins, Jena Malone and Abbie Cornish, all decent, likable actresses in their own right, can't do much with the material they're given, not to mention it wastes fine actors like Carla Gugino and Scott Glenn amidst all the CG-busyness and explosions. There are a few decent action set-pieces, but it all seems a little redundant and confusing as the girls go back and forth between reality and the alternate universe and why exactly they must do all of this nonsense just to escape a mental facility.

In an effort to appeal to the masses, this type of thing usually does well the first week or two and then peters out after bad word of mouth, though Snyder's own "300" and last year's "Alice in Wonderland" certainly proved that point wrong. "Sucker Punch" may do well with some audiences, and it certainly has enough energetic visuals to keep it moving, but it's all still a piece of mindless nonsense. Not worth the time or the money unless you feel like being sucker punched for real.

Wes's Grade: D

Win Win - B+

2011-03-17T22:46:00.006-05:00

Rated R for language, 106 minutes

The engaging, quirky “Win Win” emerges victorious

“Win Win” is the new quirky, crowd-pleasing independent comedy starring Paul Giamatti (“Barney’s Version”) and directed by “The Visitor’s” Thomas McCarthy. The film is touching, engaging and fun, even if the story seems very familiar, in an offbeat “Juno” sort of way. Like that 2007 acclaimed film, this film features a remarkable breakthrough performance from a young actor.

Disheartened attorney Mike Flaherty (Giamatti), who moonlights as a high school wrestling coach, stumbles across a troubled star athlete named Kyle Timmons (Alex Shaffer) through some questionable business dealings while trying to support his family. Just as it looks like he will get a double payday, the boy's mother (Melanie Lynskey) shows up fresh from rehab and flat broke, threatening to derail everything.

Superbly acted and slightly unconventional, “Win Win” treads familiar territory – sports, family problems, and teen angst – though it’d be unfair to really call it a sports movie or a wrestling movie; this isn’t the touchy-feely “The Blind Side” but a restrained look at the relationships that make it all happen. McCarthy, who directed Richard Jenkins to an Oscar nomination for 2008’s “The Visitor” and is who is a character actor himself (on TV’s “The Wire” and in movies like “2012”), maintains a sense of subtly and lightheartedness to the leisurely tone of the film.

In the process, “Win Win” obtains some winning performances from the entire cast, including Giamatti, who seems to be getting better with each role, along with a stellar lineup of supporting players, including “The Office’s” Amy Ryan, who has some of the film’s best lines, along with McCarthy player Bobby Cannavale, Jeffrey Tambor, Burt Young (yes that Burt Young – Paulie from the “Rocky” films) and “Two and a Half Men’s” Lynskey. Aside from Giamatti, though, it’s newcomer Shaffer, in his debut film, who nearly steals the film.

In a role that reminds of a more grounded Spicoli from “Fast Times At Ridgemont High,” with bleached hair and a spate of tattoo’s, the lean Shaffer is a relaxed cool dude and even a cooler wrestler who teaches the coach more than the other way around. He and the pudgy Giamatti have decent chemistry and some of the film’s best moments (“slap me across the head” he tells Giamatti’s coach before his first match).

“Win Win” works best when it focuses on the relationship between Kyle and Coach Mike, and less successful when it veers off into Kyle’s family drama. Still, it’s an affecting, low-key and well-acted film that one of the best of this early film year so far, and comes as a must-see.

Wes's Grade: B+

Of Gods and Men - B+

2011-03-13T14:39:00.003-05:00

Rated PG-13 for a momentary scene of startling wartime violence, some disturbing images and brief language, 110 minutes, in French with English subtitles

"Of Gods and Men": Powerful, affecting true story

There are some incidents that may have you question your faith and why things happen the way they do. The highly acclaimed French drama "Of Gods and Men" details such an event, the true story of a group of Monks who were murdered in 1996 in events that remain clouded in mystery. The slow-moving but absorbing film takes its time getting to its destination but leaves you with some haunting, unforgettable images.

Under threat by fundamentalist terrorists, a group of Trappist (a strict Catholic sect) monks stationed with an impoverished Algerian community must decide whether to leave or stay. Some of them are ultimately kidnapped by Islam extremeists and beheaded in events that are still unclear.

"Of Gods and Men" is a beautifully made, emotionally rich and poignant film that honors the dedicated monks who were murdered in 1996. The story details the events leading up to the monks deaths; it's handsomely filmed by French director Xavier Beauvois and stars well-known French actors Lambert Wilson and Michael Lonsdale.

The absorbing, acclaimed film (it won the Grand Prix prize at the 2010 Cannes Film Festival) is filled with some haunting, quiet moments, particularly a handful of scenes with the monks reflecting on their lives, and the film's final moments as the monks are being led to certain death are both sad and chilling.

"Of Gods and Men" is in French with English subtitles. It is a must-see for foreign-film enthusiasts and those who enjoy an affecting interpretation of a true story.

Wes's Grade: B+

Jane Eyre - B

2011-03-13T14:38:00.010-05:00

Rated PG-13 for some thematic elements including a nude image and brief violent content, 115 minutes

Exquisitely sad but touching "Jane Eyre"

Charlotte Bronte's classic novel "Jane Eyre" gets another big-screen treatment, and if you count the silent films, this 2011 version is the 16th time it's hit the big screen, which of course doesn't include all the television and stage versions that have been done. This rendering of "Jane Eyre" is one of the stronger efforts, capturing the downcast spirit of Bronte's novel; it's superbly-acted, elegantly filmed and if you're familiar with the story, will leave you feeling quite sad.

After a bleak childhood, Jane Eyre (Mia Wasikowska) goes out into the world to become a governess. As she lives happily in her new position at Thornfield Hall, she meet the dark, cold, and abrupt master of the house, Mr. Rochester (Michael Fassbender). Jane and her employer grow close in friendship and she soon finds herself falling in love with him. Happiness seems to have found Jane at last, but could Mr. Rochester's terrible secret destroy their love?

The latest adaptation of "Jane Eyre" is a sublime, affecting effort; it's faithful to the tone of Bronte's early feminist novel. Well-acted, handsome and pensive, there are some unforgettable images throughout. Sure, this leisurely film may appeal mainly to females but this painful portrait of unrequited love is on par with anything Merchant-Ivory did back in the 1980's.

Especially memorable is the strong performance by "Alice in Wonderland's" Wasikowska, who plays the mousy, titular character with the hope of a delicate but bruised flower. It's one of the stronger portrayals of Eyre, and Wasikowska, who looks markedly different from her other onscreen portrayals, remarkably resembles Olivia De Haviland (best known as Melanie from "Gone With the Wind") from her Oscar-winning performance in the similarily-themed "The Heiress."

She and "Inglorious Basterds" Fassbender have a nice, subdued chemistry that marks the film, especially in the later chapters. Rounding out the strong cast is Oscar-winner Judi Dench, affecting as a veteran governess, and Jamie Bell ("The Eagle") in a small role as another of Jane's suitors. Director Cary Fukunaga handles the proceedings well in what is only his second big direcorial effort; the first-rate production is highlighted by some of the most detailed costumes, music and set direction seen in recent memory and only underscore the film's effectiveness.

Unlike the novel, this film version of "Jane Eyre" doesn't have as much closure, even though you still have a sense of how it turns out. On the down side, the film doesn't do anything to lift the spirits, and don't go expecting to leave a happy camper, even the romance isn't all that happy. Fukunaga could've left a few elements out, as they aren't explored as fully as Bronte does in the novel, particularly near the end of the film.

"Jane Eyre" shows us that love often comes through suffering, and Jane does suffer much to get to her happy place, if she ever gets there. But this "Jane Eyre" is still a fulfilling, richly satisfying experience, one worth seeing, even if you leave feeling sad.

Wes's Grade: B

The Lincoln Lawyer - B

2011-03-13T14:36:00.012-05:00

Rated R for some violence, sexual content and language, 119 minutes

"The Lincoln Lawyer" is slick, guilty-pleasure entertainment

"The Lincoln Lawyer" is guilty, guilty of being a slick, entertaining and well-acted crime thriller, one of the best of recent memory. This crowd-pleaser predictably hits all the right notes but you'll find yourself enjoying it far more than you think. It becomes a bit redundant and draggy in the last act before it regains its footing for a nice, twisty ending.

Based on the 2005 best-selling novel of the same name, "The Lincoln Lawyer" concerns Los Angeles defense attorney Mickey Haller (Matthew McConaughey), a slick, smooth-talking attorney who conducts most of his work out of his 1990's-era Lincoln Town Car; he's defended lots of questionable folks, including his current client, Louis Roulet (Ryan Phillippe), a rich young real-estate agent who comes from a powerful, very wealthy L.A. family. Roulet claims to have been set up, but things don't appear to be adding up for Roulet as Haller and his assistance Frank (William H. Macy) start digging around. Now Haller is stuck defending someone he doesn't like, putting his career and his family, including ex-wife Maggie (Marisa Tomei) in danger.

"The Lincoln Lawyer" is a standard, but handsome by-the-numbers crime thriller that you've seen before but is still vastly entertaining, thanks to a superb cast headlined by McConaughey, who make this thing worth watching. McConaughey, who gained fame playing a lawyer in John Grisham's "A Time to Kill," gives his most engaging, least self-aware performance in years as the lawyer who does his business in the back of a Lincoln. Even better is the stellar supporting cast, including Phillippe as a slimeball client, Tomei, Macy, along with Josh Lucas, Frances Fisher, Bryan Cranston, Michael Pena, John Leguizamo and even country singer Trace Adkins, nearly unrecognizable in a brief but key role.

With newcomer Brad Furman's direction, you have a sense of where the stylish, smooth production is going, even down to a mildly surprising ending that has a decent emotional payoff. Some of it lacks efficiency, especially in the draggy second act, until it reawakens for a decent climax. With wavy hair, Southern accent and a swagger most would envy, McConaughey seems born to play this smooth-talking type, but one thing's for sure, you won't be looking away.

McConaughey needs a hit (commercial, critical or otherwise), and "The Lincoln Lawyer" could be his ticket out of the mediocre rom-coms he's been plagued with the last few years. "The Lincoln Lawyer" is guilty of being guilty-pleasure entertainment that could find repeat business with the lack of decent cinematic choices lately, and I would have no objections to that. A crime thriller worth a look.

Wes's Grade: B

Paul - B

2011-03-13T14:35:00.008-05:00

Rated R for language including sexual references, and some drug use, 104 minutes

“Paul” is a bawdy, delightful alien adventure

Yes, “Paul” concerns a small CG alien, but “E.T.” he’s not and this isn’t an adventure the whole family would enjoy. From the director of “Superbad” and starring the guys from “Shaun of the Dead,” Simon Pegg and Nick Frost, it’s a profane, uneven but often inspired sci-fi road-buddy comedy with energy and heart, though it’s not one of Pegg and Frost’s best outings.

Pegg and Frost are two British sci-fi geeks, Graeme and Clive, who come to America to San Diego’s Comic Con and then trek across the American West UFO Heartland in an old rented RV. Along the way, they encounter an alien named Paul (voiced by Seth Rogen), who’s been here for over 60 years but is trying to escape before he must undergo more harsh experiments. They also pick up a devout religious girl from an RV park named Ruth (Kristin Wiig) on their unusual adventure to save Paul, who is being tracked by some federal agents led by Lorenzo (Jason Bateman).

Bawdy, delightful and predictable, “Paul” is a sci-fi comedy that’s more comedy than sci-fi, and will likely be most enjoyed by devout Pegg-Frost fans. There are a handful of laugh-out loud moments and the cast is great, though down the stretch in the second act it gets a bit uneven and messy. Pegg, Frost and even the usually annoying Rogen are all engaging, though “Saturday Night Live’s” Wiig (the T-shirt she’s wearing at the first is a hoot) and a few other cameos nearly steal the movie, including a very brief, hilarious turn by “Glee’s” Jane Lynch as a big-haired truck-stop waitress.

Director Greg Mottola of “Superbad” and “Adventureland” handles the proceedings well with the profane script by Pegg and Frost, who incorporate a lot of cheeky sci-fi and other movie references you’ll have to listen closely for (my favorite is one to a 1990’s Susan Sarandon film, “Lorenzo’s Oil”). Bateman, Jeffrey Tambor, David Koechner, Blythe Danner, Bill Hader and Sigourney Weaver (an inspired, brief turn) round out the talented cast.

Though not one of Pegg and Frost’s better efforts (“Shaun of the Dead” is still the best), it’s still crowd-pleasing and engaging enough to hold the audience’s interest until the “E.T.”-inspired climax. Also, you’ll want to stay over through the credits for an amusing epilogue. “Paul” isn’t as out-of-this-world original as it wants to be (or thinks it is) but it’s an above-average sci-fi comedy entry and worth a look.

Wes’s Grade: B

Limitless - B-

2011-03-13T14:34:00.007-05:00

Rated PG-13 for thematic material involving a drug, violence including disturbing images, sexuality and language, 105 minutes

Slick, fast-paced “Limitless” is mostly eye candy

“Limitless” explores the question, what if you had a drug that made you rich and famous? Many of us would like to have that drug, though we don’t realize the consequences of what our new life brings us. “Limitless” is slick fun for the senses, just don’t think about the plot holes or contrivances that threaten the film, particularly in the film’s fast-paced last act.

Bradley Cooper (“The Hangover”) is Eddie Morra, an unemployed New York City thirty-something writer who hits snags both professionally and personally, when his stable girlfriend Lindy (Abbie Cornish) leaves him. He meets an old friend who introduces him to a top-secret new drug called NZT, which changes a person’s mental capabilities to make them sharper and brighter in every aspect of their lives. Soon Eddie finds himself at the top of his game, living a lavish lifestyle and working for some powerful Wall-Street financiers, including Carl Van Loon (Robert DeNiro), though Eddie’s life may be in danger with a limited stock of the drug and with some bad guys who are also in pursuit of him and the drug.

“Limitless” is an energetic, well-acted action-thriller of drug-fueled success and the dangers that come with it. Most of it works well, and Cooper’s engaging performances enlivens and grounds the film well. Based on a 2001 novel “The Dark Fields” by Alan Glynn, the story is a little murky and it becomes bogged down in criminal exercises near the end, but there’s enough to keep you interested throughout.

Cornish and DeNiro both have minimal footage, so don’t go into this thinking it’s an ensemble piece, but DeNiro is used wisely by director Neil Burger (“The Illusionist”) and the final exchange between DeNiro and Cooper is a treat to watch. Burger wisely steers the film away from any anti-drug preachiness and uses it strictly for entertainment value.

“Limitless” lacks emotional depth but makes up for it with slick, fun entertainment value and eye candy that the cast becomes early on. It’s filled with some fun scenes though you may not remember much of it after it’s over.

Wes’s Grade: B-

The Last Lions - B

2011-03-05T14:28:00.047-06:00

Rated PG for some violent images involving animal life, 88 minutes

"The Last Lions" a fascinating look at the big kitty

"The Last Lions" is a sublimely compelling look at the African lion, produced by National Geographic and narrated by actor Jeremy Irons. The absorbing new documentary is a beautiful portrait of a one lion's survival and ability to care for her cubs. The lush photography is the highlight of the film, and the film is suitable for the entire family, though younger kids may be frightened by a few intense scenes of animal life.

The film documentary focuses on a lioness named Ma di Tau ("Mother of Lions") as she battles to protect her cubs against the daunting onslaught of enemies to ensure their survival. The underlying message of the film is on the low population of large cats in the world and whether or not Ma di Tau and her cubs are among the last lions.

"The Last Lions" is a mesmerizing, entertaining look at big cat life on another continent; the film is a great study on animal instincts and survival, though largely unrevealing given that National Geographic has been doing this awhile, with other big cat docs such as "Eye of the Leopard." If "The Last Lions" feels familiar to that film, it's because the film's directors Dereck and Beverly Joubert, also made that film (and also with Irons narrating).

Along with the handsome photography, it also helps that the first-rate narration, told with great inflection by Oscar-winner Irons, helps move the film along and actually adds insight and a dramatic feel to ordinary animal life. Even with the familiar story, all of it's engaging, insightful and a treat to watch, whether Ma di Tau is protecting her cubs (always cute when they're babies) or searching for food, you won't be able to look away.

"The Last Lions" is a worthwhile, enjoyable documentary that's worth a look, especially for animal lovers.

Wes's Grade: B

Mars Needs Moms - B

2011-03-05T14:28:00.046-06:00

Rated PG for sci-fi action and peril, 88 minutes

Loopy fun in familiar "Mars Needs Moms"

The new Disney animated/motion capture movie "Mars Needs Moms" mixes a perfect amount of silly fun with simple sci-fi fun and a few heartwarming messages thrown in for good measure. The story emotes a "been there done that" type of feel, combining a lot of different sci-fi elements from different films ranging from "Aliens" to "Star Wars" to "2001: A Space Odyssey" but there's enough wistful energy to keep the young ones entertained for roughly 90 minutes.

Nine-year old Milo (voice of Seth Dusky/body of Seth Green) is a normal precocious boy on Earth who doesn't appreciate his Mom (Joan Cusack) much until she is kidnapped by Martians with plans to strip her of her "mom-ness" for their own young. Milo's quest to save his mom involves stowing away on a spaceship, navigating an elaborate, multi-level planet and taking on the alien nation and their leader, the Supervisior (Mindy Sterling). With the help of a tech-savvy, underground earthman named Gribble (Dan Fogler) and his bionic underground pet named Two-Cat (Dee Bradley Baker) and a rebellious Martian girl called Ki (Elisabeth Harnois), Milo just might find his way back to his mom — in more ways than one.

"Mars Needs Moms" is a colorful, loopy and entertaining adventure perfect for kids of all ages, especially ones who must appreciate their Mom's more. Produced by Robert Zemeckis and directed by Simon Wells ("The Prince of Egypt"), the film utilizes the same stop motion capture used on some of Zemeckis' earlier films including "A Christmas Carol" and "The Polar Express" and the film continues to show how this technology evolves to produce smoother, more fluid human movements that look remarkably like animation. Unlike those earlier films, "Mars Needs Moms" has a lighter tone to appeal to a younger, wider audience, which could work in the film's favor.

The story is predictable but energetic, light fun and you have a sense of where the story is going, but it's still fun to get there. Zemeckis and company add some nice sci-fi touches (women in charge, the men are doofuses), and while the film seems overly familiar, it's actually based on a Berkeley Breathed (of "Bloom County" fame) children's picture book of the same name. The film is well-acted and voiced, even with the limited taste of an annoying comedian like Fogler, who gives the film's most touching performance as someone who's had similar experiences to Milo.

The film's target audience, the younger set, should enjoy this outing more than the slightly creepy "Polar Express" or the dark "Christmas Carol," both of which have found taken time to find audiences. Kids should have no problem enjoying the warm, heartfelt "Mars Needs Moms," which could be a treat for the whole family, especially Moms.

Wes's Grade: B

Red Riding Hood - D+

2011-03-05T14:28:00.034-06:00

Rated PG-13 for violence and creature terror, and some sensuality, 105 minutes

“Red Riding Hood”: One big, bad bore

Once upon a time in the land of Hollywood, they made a film based on a children’s fairy tale, with a lavish production, big stars, a noted director and in the end...it sucked. “Red Riding Hood” is the new thriller loosely based on the age-old folk tale “Little Red Riding Hood.” On the plus side, the production is stylish and handsome, and it has the terrific Gary Oldman, but this woefully misguided effort ends up a huge mess that only the big bad wolf could enjoy. Badly-acted, sloppily directed and not a bit scary, you may actually appreciate "Twilight," that mediocre vampire-werewolf story this movie is modeled on.

Valerie (Amanda Seyfried) is a beautiful young woman torn between two men. She is in love with a brooding woodcutter, Peter (Shiloh Fernandez), but her parents have arranged for her to marry the wealthy Henry (Max Irons). Valerie and Peter plan to run away together when Valerie's older sister is killed by the werewolf that prowls the dark forest surrounding their village. Under a blood red moon, the wolf has upped the stakes by taking a human life. Hungry for revenge, the people call on famed werewolf hunter, Father Solomon (Oldman), to help them kill the wolf. But Solomon's arrival brings unintended consequences as he warns that the wolf, who takes human form by day, could be any one of them.

“Red Riding Hood” is a lavish, intriguing interpretation of the gruesome fairy tale, but by and large it’s a lifeless failure with little spark or chills. Unfortunately, the movie rests in the hands of director Catherine Hardwicke, who helmed the first “Twilight” film and who tackles similar themes here with the same type of misguided banality.

The impressive sets and costumes (unsurprising, given Hardwicke’s set design background) are the highlight, with little else that’s memorable, especially the same type of cheap special effects Hardwicke used in “Twilight.” It doesn’t help that the most disappointing effect in the film is the werewolf itself, a cheap piece of fakery that provides more unintentional laughter than any genuine scares. Hardwicke, director of edgier fare like “Thirteen,” should stay away from films involving werewolves, or maybe just stay away from directing films.

“Red Riding Hood” wobbly leans a couple of factors for its success. The first is the “mystery” of the werewolf, which turns out to be a creepy disappointment, but good luck in staying awake to get that point. The other is the charisma of the handsome but wooden leads: “Big Love’s” Seyfried and newcomers Fernandez and Irons, all of whom lack chemistry or believability, while talented actors such as Julie Christie, Billy Burke (another “Twilight” fixture), Lukas Haas and Virginia Madsen are also wasted. Even the usually-watchable Oldman (“The Dark Knight”) is relegated to chewing on scenery as a big-name priest.

“Red Riding Hood” will likely attract some viewers seeking a “Twilight”-type of thrill the first week of release, until they realize that snoring doesn't exactly instill good buzz for a film.

Wes’s Grade: D+

Battle: Los Angeles - C+

2011-03-05T14:28:00.030-06:00

Rated PG-13 for sustained and intense sequences of war violence and destruction, and for language, 110 minutes

"Battle: Los Angeles" is a loud but entertaining fight

Aliens are invading. Again. That's the simple new premise of the unoriginal new action sci-fi thriller "Battle: Los Angeles," a movie that will make you very, very thankful for earplugs. "Battle: L.A." is a turbulent, tiresome video-game package of a movie, slickly done to appeal to the senses in the gaudiest way. With that in mind, "Battle: L.A." packs a wallop visually, with stunning special effects and a pace that would leave Will Smith breathless, but its cornball storyline and redundant intensity are likely to leave you exhausted.

Aaron Eckhart is Marine Staff Sergeant Michael Nantz, a veteran who's on his way out but is drawn back in when alien forces begin invading Earth. The mysterious alien forces are out to destroy mankind and take over Earth to use it for its natural resources, primarily the need for water. Los Angeles is one of the last major centers of the West still standing, and its up to Nantz and his troops, including Air Force Sgt. Santos (Michelle Rodriguez) and a pretty civilian (Bridget Moynihan) he meets along the way.

"Battle: Los Angeles" is a conventional, entertainingly headache-inducing action film that's peppered with some impressive visuals and a breathless pace. If you slow down long enough, you'll realize the predictability of the sappy plot and the cookie-cutter characters you'll find in just about every sci-film this side of "Avatar." Director Jonathan Liebesman, who's helmed mostly horror films such as "Darkness Falls" and the "Texas Chainsaw Massacre" reboot, serviceably handles the visuals, but you'll quickly realize where most of the money in this expensive production went to.

Eckhart, along with Rodriguez, Moynihan and Micheal Pena and Ne-Yo, headline a bland cast that is clearly secondary to the excessively loud visuals (note: there are gazillions of explosions in this movie). The plot is borrowed and predictable, and you'll know instantly that these guys will find a way to win, a familiar formula seen in so many other sci-fi films such as "War of the Worlds," "Independence Day" and "Cloverfield." Still, there are a handful of intensely enjoyable moments including a showdown on a deserted piece of L.A. freeway and of course the climactic showdown with the mothership. As a side note, none of this was actually filmed in Los Angeles, but the much cheaper Louisiana.

"Battle: Los Angeles" isn't nearly as terrible as you might expect it to be, and as mindless, guilty-pleasure entertainment it actually works well. It's also miles ahead of last fall's "Skyline," a dreadful, depressing film that seemed to have ripped off the plot of this movie (not to mention its visuals). Those that enjoy this type of thing will go and likely go again; those who enjoy their entertainment without earplugs or a headache should stay home and watch "The Big Bang Theory" on DVR.

Wes's Grade: C+

happythankyoumoreplease - C+

2011-03-01T11:20:00.027-06:00

Rated R for language, 100 minutes

Quirky dramedy "happy..." too familiar

Quirky independent dramedies about the travails of New York City professionals have been quite common since the TV show "Friends" popularized it back in the 1990's. Scores of TV shows and movie utilize the same theme, and the offbeat, indepedently-made "happythankyoumoreplease" is no different. It's not terrible, just terribly unoriginal; there are some engaging, fun moments, but the annoying, faux-cool predictability of it all (hence the run-on title of the film) makes it an empty shell of a movie.

The film centers on Sam ("How I Met Your Mother's" Josh Radnor) and Rasheen (Micheal Algieri), a writer and foster care child who meet when Rasheen is abandoned on the subway. Through his story we learn of Sam's best friend Annie (Malin Akerman), an Alopecia patient trying to find a reason to be loved, his cousin Mary Catherine (Zoe Kazan) and her boyfriend Charlie (Pablo Schreiber), a couple facing the prospect of leaving New York, and Mississippi (Kate Mara), a struggling waitress/singer Sam meets and romances.

"happythankyoumoreplease" is a charming, low-budget but unmemorable dramedy with shades of so many other TV shows and films. Josh Radnor, the star of TV's "How I Met Your Mother," stars, directs and writes his first feature film, though the film really seems to be an extension of his TV show character, a nebbish, eccentric mensch and writer and his relationship with an orphan kid. It's unfortunate that Radnor, the star of the film, has a certain blandness that makes the contrivances of the film seem even more unbelievable (a girl named Mississippi, really?).

There are overlapping subplots, most of which we don't care about, the most memorable belonging to the pretty but unrecognizable Akerman, playing against type as Sam's best friend, a troubled, hairless girl with relationship issues (and who inspires the film's unusual title). Otherwise, most of it's a bit disappointing in a TV-movieish way; Radnor's labor of love isn't completely lost though. He has a good ear for dialogue, he's a serviceable director (but as many first-time directors do, he relies too much on standard close-ups) and the soundtrack is filled with some pleasant, folksy tunes.

If you seen "Friends," you've seen this one too. As a matter of fact, this could be called "The One You Won't Remember."

Wes's Grade: C+

Rango - B-

2011-03-01T11:19:00.002-06:00

Rated PG for rude humor, language, action and smoking, 107 minutes

“Rango” is a unique, oddly charming animated adventure

“Rango” is not your typical animated film. It’s strange, dark and filled with some bizarre creatures that aren’t your typical lovable animated creatures, but still oddly engaging enough to hold your attention. With that said, it’s seems a perfect project and reunion for mega-star Johnny Depp, who voices title character, and his “Pirates of the Caribbean” director Gore Verbinski. Unconventional but colorful, much of the humor is above the level of younger kids, who may not find this as entertaining as their parents will.

Rango (Depp) is a chameleon who lives in a terrarium and constantly seeks to fit in with his surroundings. He finds himself removed from his contemporary American southwest surroundings and ends up in an Old West town in the middle of the Mojave Desert called Dirt, which is populated by various desert critters such as Rattlesnake Jake (Bill Nighy), an iguana named Beans (Isla Fisher), and a mouse named Priscilla (Abigail Breslin). Thinking himself a hero, Rango establishes himself as the town's Sheriff, not knowing that people who have held that title do not fare very well in Dirt. In "an existential crisis", Rango comes to question everything about himself.

Original, atypical yet lively, “Rango” is certainly a smart animated adventure, maybe too start and unconventional for its own good. Many of the critters here may actually scare some of the younger kids, who also won’t understand a good bit of the plot or action that occurs in the movie. There are some fun moments (mainly involving a snake, turtle and hawk, which gets his due midway through the film) and most of the animation, which is clearly the highlight of this expensive film, is clean, colorful and detailed.

Depp is inspired casting as the titular tiny green character, a lizard who questions the meaning of life. While that sounds arresting, most of it will be over the heads of the young ones this is geared for and is probably hoping that the audiences who enjoyed “Shrek” will also enjoy this same brand of humor, except much of it is the cerebral type of humor expected from Depp and company.

“Rango” finds time to sneak in that homage’s to old cinematic Westerns (another aspect that kids won’t pick up on); watch closely and you’ll notice some sly references to Gary Cooper, Sergio Leone and Clint Eastwood, among others, which adds to some of its unconventional, eccentric charm. Some may enjoy this odd ride, many others may just think it’s weird (and some it is).

“Rango” is an enjoyable, if not unusual ride, for older children and above.

Wes's Grade: B-

The Adjustment Bureau - B

2011-03-01T11:18:00.006-06:00

Rated PG-13 for brief strong language, some sexuality and a violent image, 106 minutes

Entertaining, affecting “Adjustment Bureau”

Watch out for those men in hats. The twisty new sci-fi thriller “The Adjustment Bureau” may have you thinking twice about the power of those fedoras. Loosely based on a Phillip Dick short story, “The Adjustment Bureau’s” entertaining, fast-paced plot is akin to “The Matrix” and Dick’s own “Minority Report” with some Biblical overtones thrown in for good measure, and while this is a flawed effort, it’s still a thoroughly engaging portrait of free will and human destiny.

Matt Damon is David Norris, a New York City Congressman with a bright future. He gets a glimpse into his own future when he realizes that most, if not all, of his life is being controlled by a powerful, highly-secret and other-worldly organization called The Adjustment Bureau, men who wear dark suits and fedoras and have stealth-like powers to control someone’s fate. He falls in love with a dancer named Elise (Emily Blunt), but this is not according to their plan, and the Bureau (including John Slattery, Anthony Mackie and Terence Stamp) will do all they can to keep David on track.

“The Adjustment Bureau” is a malleable, imperfect thriller, made better by the absorbing performance of Damon, who ably carries the film in nearly every scene. It’s part sci-fi thriller, part love story, as a thriller it works much better than the romantic angles that seem incorporated into the story to draw a female audience. First-time director serviceably handles the material, though a stronger, more experienced director could’ve brought out a few more nuances of Dick’s story, which seems very, very familiar to his own “Minority Report."

Damon’s engaging performance is the best thing about the film, and he’s well-supported by Blunt, “Mad Men’s” Slattery, a warm performance by “The Hurt Locker’s” Mackie and an deliciously evil performance by the always enjoyable British legend Stamp. You have a sense of where the plot will go, and the ending is a bit unsatisfying and even anti-climactic considering how much time is spent getting there.

But Damon and company entertain quite well, and they easily draw you into the story before you can say “time machine.” “The Adjustment Bureau” is worth the effort for sci-fi fans and non-fans alike, just stay with it and watch out for anyone wearing a hat.

Wes’s Grade: B

Take Me Home Tonight - C

2011-03-01T11:14:00.005-06:00

Rated R for language, sexual content and drug use, 100 minutes

Uneven but fun “Take Me Home Tonight” vapidly channels the ‘80s

As a child who endured the ‘80s, there are certain things I can appreciate about the new teen film “Take Me Home Tonight.” For one, the ‘80s soundtrack bubbles with energy, some of the outfits and hairstyles are hilariously bad and the cast seems to have a good time. Too bad the long-delayed film is a bit of a mess; its uneven, raunchy tone and predictable story are too well-worn; there are a few enjoyable moments but it clearly lacks the spunk of anything John Hughes might’ve done.

It's the late 1980s and Matt Franklin (Topher Grace), a brilliant but disillusioned young MIT graduate who walks out on a well-paid position at a local lab and takes a low-level job as a video clerk, much to his parents consternation. His best buddy Barry (Dan Fogler) was just fired from his job, his brainy twin sister Wendy (Anna Faris) is getting hitched to her vapid boyfriend Kyle (Chris Pratt), and the gorgeous Tori Frederking (Teresa Palmer), long-time object of Matt's unattainable adoration, is suddenly back in the picture. Now, on one wild and irresponsible evening, everything comes to a head, with explosively unpredictable results.

“Take Me Home Tonight” is a mixed bag: a mildly enjoyable raunchy teen comedy with Hughes-like aspirations that doesn’t smoothly come together. Inexplicably, the film, which was made in 2007, was delayed primarily to its raunchy tone, which would’ve worked better if it weren’t so similar to other movies. The whole teen-wild-party-over one-night-thing has been exasperated over the years (Hughes’ “Sixteen Candles” is the best film with this similar theme), and you have a sense of where it's going way, way before it gets there.

The talented cast, who work well together, are by now a bit too old for this type of thing, especially “That ‘70s Show” Grace, an utterly likable actor who should move to other things; the energetic Fogler, and the always engaging Faris, all of whom are now in their ‘30s. They seem to have fun however, and there are a handful of amusing moments, particularly the extended, overdone climax.

The best thing about “Take Me Home Tonight” is the ‘80s music heard at every turn (“Bette Davis Eyes,” “Safety Dance,” Oh Sherry” and more), which certainly brings back memories for those of us who endured the decade. Even the title is derived from the popular Eddie Money song, though that itself is an inexplicable title given the song isn’t in the film and the plot doesn’t involve anyone going home on this particular night.

Do yourself a favor, skip the film and pick up the soundtrack instead.

Wes’s Grade: C

Beastly - C

2011-03-01T11:13:00.002-06:00

Rated PG-13 for language including crude comments, brief violence and some thematic material, 90 minutes

“Beastly” a shallow take on “Beauty and the Beast” tale

“Beastly” is a weak, bland contemporary take on the classic “Beauty and the Beast” story and while there are some inspired moments, the crowd-pleasing tale lacks heart and emotional depth. The unsatisfying, predictable film lacks a strong emotional core and a strong script, though the eye-candy cast makes some of it worthwhile.

New York teen Kyle (newcomer Alex Pettyfer from the recent “I Am Number Four”) is rich, handsome and conceited. The son of a popular TV news anchor (Peter Krause), the shallow Kyle has a bright future ahead of him in college. That is, until he ticks off the school’s resident witch Kendra (Mary-Kate Olson) who puts a spell on Kyle, turning him into a hideously ugly human covered in scars and tattoos; if he can get someone to love him for who he is within a year, he will be changed back, otherwise he gets to stay this way forever. He ends up falling for the pretty Linda (Vanessa Hudgens), a schoolmate who’s always been attracted to him, but their hidden secrets could keep them apart.

“Beastly” is “Beauty and the Beast” for the teen set, and while it is an interesting take on the classic tale, the delayed film (it was actually shot in 2009) falls flat in terms of executing a memorable, satisfying story. Daniel Barnz, directing only his second feature film, makes good use of make-up and visuals in adapting Alex Finn’s best-selling novel, and while the two handsome leads try their best, it’s overall a rather shallow, calculated version of the classic age-old story, made popular in TV and animated film.

Newcomer Pettyfer, a strikingly handsome British model and actor who’s already accumulated quite a following with the “Tiger Beat” set, is inspired casting in the lead role, though a number of other actors could’ve played the role, and Hudgens, from the “High School Musical” films, is equally as pretty and bland. The two are surrounded by stronger or more memorable supporting players, including Olson twin Mary-Kate, a fun villain, and warm roles from familiar faces Lisa Gay Hamilton (of TV’s “The Practice”), and particularly “How I Met Your Mother’s” Neil Patrick Harris, who nearly steals the movie as a cheeky blind guy with some amusing one-liners.

“Beastly” seems to be missing a few things down the stretch, and it’s ultimately too predictable, too cutesy and too bland to be memorable. It’s not awful, but if it were as original and striking as Pettyfer’s extensive make-up job, it would’ve turned out far better. “Beastly” ends on a bit of a whimper, a mediocre effort that will be most appreciated by its target demographic, teenage girls.

Wes’s Grade: C

Drive Angry 3D - C

2011-02-22T21:51:00.010-06:00

Rated R for strong brutal violence throughout, grisly images, some graphic sexual content, nudity and pervasive language, 95 minutes

"Drive Angry 3D" energetic but trashy entertainment

I can sum up the new Nicolas Cage action film "Drive Angry 3D" quicker than you can run a stop sign: 1) it's far, far better than his most recent film "Season of the Witch", 2) it's certainly not dull, and 3) the plot is essentially "Ghost Rider" in a car instead of a motorcycle. Of course, none of this means the film is actually any good, but as my friend Edith said following a recent screening, "you won't fall asleep." A spectacular but enjoyable piece of crap designed to instill a cult following, please Cage's fans and make the rest of us cringe, it should cruise along to a hearty afterlife at the box-office.

Milton (Nicolas Cage) has broken out of Hell and along with a tough-as-nails waitress (Amber Heard) is out to prevent an evil cult leader (Billy Burke) that murdered his daughter from sacrificing his infant granddaughter. However, he is being pursued by 'The Accountant' (William Fichtner), a supernatural operative of Satan who has been sent to bring Milton back to Hell.

"Drive Angry 3D" is cheesy, low-grade guilty pleasure entertainment that's exceedingly and gratuitously violent and misogynistic but far more energetic than you might think. Directed and filmed in 3D by Patrick Lussier, the guy who did the 3D reboot of "My Bloody Valentine" a couple of years ago, this forgettable film is only worth seeing for a couple of reasons: character actor Fichtner, who almost walks away with the film, and those smokin' hot muscle cars that literally power the film: a 1969 Dodge Charger, a 1971 Chevrolet Chevelle, and a 1964 Buick Riviera.

It's hard to believe that Cage is the same guy who won an Oscar for "Leaving Las Vegas" and appeared in such films as "Moonstruck" and "Adaptation." After his Oscar win, he has seemingly made a deal with the devil to receive huge paychecks for dreck like this that somehow passes for entertainment these days in Hollywood. For what it's worth, the 3D is above-average this time and there is an extended car chase that will rank as one of the year's most memorable. Cage gives another terse performance that has him speaking softly and carrying a big gun, he's Buford T. Justice from hell.

"Drive Angry 3D" will do big business the first week and will drop off once audiences realize the film is just a big gimmick to get people to speed into the theater to see another awful 3D film. As bad as it is, it entertains in its own trashy, low-brow way, with big guns, big cars and big explosions. With a shelf life of a few weeks at most, it's as disposable as those 3D glasses you pay extra for. See it if you must, but you've been warned.

Wes's Grade: C

Hall Pass - C

2011-02-22T21:50:00.030-06:00

Rated R for crude and sexual humor throughout, language, some graphic nudity and drug use, 98 minutes

More of the same Farrelly schtick in "Hall Pass"

Poor Owen Wilson, he can't seem to catch a good break as of late as his last two films have been met with wildly mixed results. "The Little Fockers" was a box-office hit trashed by critics (including this one), and the romantic comedy "How Do You Know" was an outright flop in every way.

Now Wilson headlines the new Farrelly Brothers crowd-pleasing comedy "Hall Pass," that examines what it'd be like to have one week "off" from marriage to do anything you please i.e. a hall pass. With a paper-thin premise, outrageous gags that come across as desperate and funnier cast members than Wilson, "Hall Pass" unfortunately doesn't quite cut it, but the film will probably still make money.

A married man (Wilson) is granted the opportuniy for a one-week "hall pass" by his wife (Jenna Fischer) to do anything he wants, in hopes of improving their sagging marriage. Joined in the fun by his best pal (Jason Sudeikis) and his wife (Christina Applegate), things get a little out of control when both wives start having a little fun of their own as well.

"Hall Pass" is a forgettably raunchy, mildly enjoyable comedy with some low-brow gags that will likely make it at least a modest hit. "Hall Pass" directors and writer-brothers Peter and Bobby Farrelly are the M. Night Shyamalan of movie comedies; they've been working hard to re-create the magic of a couple hits they had back in the '90s (yes, it's been that long) with "Dumb and Dumber" and "Something About Mary," much like Shyamalan has been attempting to do from "The Sixth Sense." Note to the filmmakers: it's no longer the '90s and times have certainly changed, we do not have be shocked into laughs.

There are a few reasons that "Hall Pass" doesn't work as well as it should. For one, those "shocking" Farrelly moments from earlier outings now seem desperate, with a pair of penises, some vomit and a dump their attempts to be amusing (they're not, and in the case of the vomit scene, just plain digusting). On top of that, Wilson isn't used to good effect here (i.e. he isn't as funny), and as the "other couple," "Saturday Night Live's" Sudeikis and "Samantha Who's" Applegate upstage the bland Wilson and an even blander Fischer with better lines and in Sudeikis' case, better physical comedy.

Lastly, the film's premise, widely known by now, is ultra-thin, with everything else, including a woefully contrived climax, remarkably tame filler given what actually happens. Sure, there are a few sporadic reflex laughs, which could describe the film itself: mildly funny but overall a tame effort. Don't feel too sorry for the likable Wilson, he's still paid for these things, as are the Farrelly's (I can only imagine how their upcoming Three Stooges film will turn out), and hopefully Wilson will be seen or heard to better effect later this year in Woody Allen's new rom com and in Pixar's animated "Cars 2."

"Hall Pass" isn't a great date movie, likely appealing only to young males who enjoy this type of thing. Go if you must, but you may regret it later (especially if you're on a date), this is more of a rental.

Wes's Grade: C

Big Mommas: Like Father, Like Son - F

2011-02-16T09:11:00.023-06:00

Rated PG-13 for some sexual humor and brief violence, 107 minutes

“Big Mommas” a big stinker

Truthfully, should this come as any surprise, given that the first two “Big Momma” films weren’t exactly classics? What was initially very mildly amusing and a fun urban take on the 1959 classic “Some Like It Hot,” the very very broad comedies have grown worse and more annoying, but that could be due to the acquired taste of Martin Lawrence, a comedian known to grate the nerves.

This third installment continues his shenanigans as Big Momma, except this time he has along a son, “Tropic Thunder’s” Brandon Jackson. With utterly predictable, even offensive material and acting from both the leads that largely consists of running and mugging for the camera in women’s clothes and makeup, this “Big Momma” is easily one of the worst films of the year and one of the worst of Lawrence’s career, which says something.

Malcolm (Lawrence) and stepson Trent (Jackson) go undercover to escape some bad guys at a girls prep school (what else?). Malcolm is Big Momma, Trent his great niece, Charmaine. The same hijinks ensue and Big Momma is pursued by an equally big janitor (Faizon Love) while Trent tries to romance one of the young girls in the school.

“Big Mommas” is simply terrible: cheap, formulaic, offensive laughs that aren’t that funny to begin with. If you’ve seen the other “Big Momma” films (and let’s hope you haven’t) then you’ve essentially seen this one too. Lawrence is finding himself in the same position as another comedian, Eddie Murphy, who was funny back in the day but whose schtick has grown extremely tiresome over the years.

“Big Mommas” takes down another young comedian in Jackson, a moderately funny actor and comedian who may not want to include this on his film resume. It’s also unfortunate that the film makes so much fun of a naturally large person in Love, who must need the acting work to take dreck like this.

There’s nothing worthy about “Big Mommas” so I’d say that it’s really time to put Big Momma to rest for good.

Wes's Grade: F

Cedar Rapids - B

2011-02-16T09:11:00.022-06:00

Rated R for crude and sexual content, language and drug use, 86 minutes

“Cedar Rapids” is low-key but sincere fun

The new comedy “Cedar Rapids” may seem billed as a cross between TV’s “The Office” and “The Hangover,” but it strikes its own chords of unassuming hilarity. Good-natured, but unpredictable, its fish-out-of-water story is overly familiar but still well-acted by all the principals, including “The Office’s” Helms and scene-stealer John C. Reilly.

To call insurance agent Tim Lippe (Ed Helms) "naive" is a gross understatement. He's never left his small Wisconsin hometown. He's never flown in an airplane or stayed at a hotel. And he's never experienced anything like Cedar Rapids, Iowa. Sent to the "major metropolis" to represent his company at an annual insurance convention, Tim is soon distracted by three convention veterans (John C. Reilly, Anne Heche and Isiah Whitlock Jr.) who will show him how it works but also push a few of his buttons. For a guy who plays everything by the book, this convention will be anything but conventional.

“Cedar Rapids” is a sweet, low-key and offbeat comedy with its heart in the right place. It’s easy to make comparisons with “The Office” with Helms leading the cast, and while some of it has to do with corporate relationships, it’s more about finding yourself outside of the corporate structure. It’s directed by Miguel Arteta, the guy who directed equally offbeat comedies in “Chuck and Buck” and “The Good Girl” and the colorful characters seem to fit Arteta well.

Helms grounds the ensemble comedy film very capably and shows his comic skills and his character undergoes the most changes of the four leads. Reilly comes in and nearly steals the show as the film’s most loathsome but funny character as a slimeball insurance sales that he’s seemingly born to play. Helms, Reilly, Heche and character actor Whitlock (seen most notably in HBO’s “The Wire”) all work well together with a warm chemistry.

The touching film’s observations on middle America may resonate with some, though others may feel the story is too familiar and obvious. Whatever the case, you’ll come away with a smile on your face.

Wes's Grade: B

I Am Number Four - B-

2011-02-16T09:11:00.016-06:00

Rated PG-13 for intense sequences of violence and action, and for language, 105 minutes

Energetic, fun "I Am Number Four" holds few surprises

"I Am Number Four" could essentially be an alien version of "Twilight," after all it's based on a best-selling young adult novel, stars a handsome young British actor and even features a crusty old pickup. "Four" may not have the draw of the teenage werewolf-vampire series, but it's far more energetic and fun to be a part of. Some of it is predictable, cookie-cutter sci-fi fare and it gets rather noisy in the last act, but it's enjoyable escapist fare, something that can't be said for the rather colorless "Twilight" films.

Extraordinary teen John Smith (Alex Pettyfer) is a fugitive on the run from ruthless enemies called Mogadorians sent to destroy him. Changing his identity, moving from town to town with his guardian/father-figure Henri (Timothy Olyphant), John is always the new kid with no ties to his past. In the small Ohio town he now calls home, John encounters unexpected, life-changing events-his first love (Dianna Agron), powerful new abilities and a connection to the others who share his incredible destiny.

"I Am Number Four" is a colorful, modestly entertaining sci-fi film that's mostly geared for the young set. The film is a pleasant sleeper given that the film hasn't been marketed well by the Disney machine (released under its Touchstone label), a troubling sign for a film that could have limited appeal outside of sci-fi fans or fans of the James Frey-Jobie Hughes best-selling novel of the same name. Fans of the book will notice a handful of changes but otherwise this is mostly a faithful adaptation of the novel.

D.J. Caruso, director of the hit action film "Eagle Eye," is a serviceable director though a stronger director with experience in this type of genre, say Chris Columbus, would've done a better job in bringing the novel to life. Caruso can't escape the more predictable elements (teenage love story/angst, ugh) or a downright noisy but fast-paced climax that seems out of place with the rest of the film. Pettyfer, an English model and actor, is a capable lead, and he's well-paired with pretty but bland "Glee" actress Agron. Australian actress Teresa Palmer makes more of an impression as a fellow alien who literally flies in to help save the day.

More so than the "Twilight" films, "I Am Number Four" is modest, escapist fun and while it may lack a lot of big surprises with limited appeal outside the comic-con set, it's worth seeing, along with a decent soundstrack, a few nifty special effects (note: watch for the beagle) and those who enjoy seeing a grayish Timothy Olyphant, star of one of my favorite new shows, "Justified," in small role.

Wes's Grade: B-

Brotherhood - B

2011-02-16T09:10:00.004-06:00

R for pervasive language, some violence and sexual content, 81 minutes

“Brotherhood” an intense, absorbing indie thriller

If you’ve ever wondered what fraternity life is like, the gripping new independent thriller “Brotherhood” sheds some light on that. A fictional, Texas-based and Texas-filmed drama, it concerns what happens when a fraternity initiation goes horribly wrong, and you must choose between bad or completely awful consequences.

College freshman Adam Buckley (Trevor Morgan) finds himself in the back of a van dealing with the fact that he has to rob a convenience store as the final step of his initiation into the Sigma Zeta Chi fraternity. Minutes later, he discovers that a fellow-pledge, Kevin Fahey (Lou Taylor Pucci), just got shot while doing it.

Frank (Jon Foster), the senior fraternity brother in charge, gets Kevin out of the store alive, but the fraternity's troubles are just beginning. Thinking they can get out of the situation without taking Kevin to a hospital and alerting the authorities, Frank decides the fraternity will handle things themselves. But when every move is met with disastrous consequences, Adam soon realizes that in order to save his friend's life he must find it within himself to go against Frank and his new brothers.

“Brotherhood” is an absorbing, efficiently made and tense low-budget thriller directed and written by first-time director Will Canon, a native Dallas-site in his debut feature-film. It’s an auspicious debut for Canon, though the film, which has been making the festival circuit for a year now (I saw the film last year at the Dallas International Film Festival), is actually an expanded remake of his 2001 short film “Roslyn.”

Canon quickly establishes the forces of good (Adam) and evil (Frank) in the story, and the fraternity house becomes a battleground to see which man will be standing at the end. The messages and themes (good v. evil, do what is right regardless of the consequences, et al) are a tad redundant and reinforced throughout the film, and the message itself has been around since the days of “12 Angry Men.”

Even with that, we also know that the tension provides some decent entertainment, and “Brotherhood” is an above-average, well-made debut film. Some of it could’ve been better developed, but it’s still an entertaining film that’s worth a look.

Wes’s Grade: B

Unknown - B-

2011-02-16T09:09:00.006-06:00

Rated PG-13 for some intense sequences of violence and action, and brief sexual content, 113 minutes

Far-fetched but entertaining Neeson thriller “Unknown”

Two years ago character actor Liam Neeson proved himself to be a capable action hero in the thriller “Taken,” and he again sufficiently proves himself in the new action film “Unknown.” Entertaining, fast-paced but a little silly, particularly in its last act, “Unknown” is engaging enough to hold its audience in spite of a few plot holes.

Dr. Martin Harris (Liam Neeson) awakens after a car accident in Berlin to discover that his wife (January Jones) suddenly doesn't recognize him and another man (Aidan Quinn) has assumed his identity. Ignored by disbelieving authorities and hunted by mysterious assassins, he finds himself alone, exasperated, and always on the run. With help from an unlikely ally (Diane Kruger), Martin plunges headlong into a deadly mystery that will force him to discover who he really is.

“Unknown” is a captivatingly swift late-winter action-thriller entry that’s part action-adventure, part-spy thriller, though I won’t reveal any key plot details. There a few inconsistencies that you’re sure to pick up on throughout the film, until the last act when it goes a little overboard on twists and turns. “Unknown” is an interesting film: an American production filmed in Germany that’s based on a French novel “Out of My Head.”

A tad preposterous, “Unknown” is standard action-thriller that will likely sweep you off your feet due in large part of the likability of Neeson, who carries the film in nearly every scene. He’s also well-paired with the tough Kruger, best-known for being a side-kick to another well-known actor, Nicolas Cage, in the even sillier “National Treasure” films.

“Mad Men’s” voluptuous beauty January Jones is also well-cast as Harris’ mysterious wife; Quinn is a bit of a waste as the bad guy, who’s given little screen time, while Langella makes the most of a very brief role. Even more memorable is Swiss character actor Bruno Ganz (“The Reader”) in a strong supporting role as a wizened former police officer who helps Neeson’s character.

There are a few entertaining action scenes in the streets of Berlin, particularly a couple of decent car chases and it speeds to a somewhat predictable but explosive climax. It may or may not make sense to you in the end, and what is unknown may still be unknown, but what is for sure is that Neeson is an able action-adventure hero.

Wes's Grade: B-

Barney's Version - B+

2011-02-12T13:54:00.012-06:00

Rated R for language and some sexual content, 134 minutes

Giamatti's engaging performance highlights dramedy "Barney's Version"

Barney Panofsky hasn't had an easy life, nor is he an easy person to live with. The captivating, touching performance by Paul Giamatti in the title role is the highlight of the entertaining yet slightly overlong dramedy "Barney's Version," based on the 1997 best-selling novel by Mordecai Richler. Superbly-acted, it's a journey filled with moments of emotional depth and a decent, low-key film overlooked by the Oscars this year.

Barney's story is told over several decades and his experiences with his friends, three wives and his extended families. His first wife Carla Chambers (Rachelle Levefre) commits suicide after Barney leaves her due to her unfaithfulness. He and his second wife (Minnie Driver), a rich Jewish woman with a big family and even a bigger inheritance, loathe each other and her unfaithfulness with Barney's handsome but drug-addicted best friend Boogie (Scott Speedman) causes that marriage to fall apart. At the reception of his second wedding, Barney finally meets his true love, Miram (Rosamund Pike), and while they spend many happy years together, his bad choices threaten to drive her away too, all the while receiving guidance from Barney's unconventional but loving father Izzy (Dustin Hoffman).

"Barney's Version" is a poignant, touching story of an incorrigible man who doesn't always make the best choices in life, even when he has it going pretty good. Directed by veteran TV and movie director Richard J. Lewis, the film energetically opens up Richler's novel with a memorable, tour-de-force performance by Giamatti who emotionally grounds the film and carries the film on his back as the man who's part grump, part lover and part mensch. The early part of Barney's story is a little choppy and uneven, but fortunately Lewis spends the most time with Barney's third wife, the sympathetic Miriam, in a warm performance by British character actress Pike.

Giamatti's tender performance underscores the fact he's one of Hollywood's hidden gems and an underrated actor; you sense what he's feeling just by the look on his face, a unique quality that many actors don't have. The performance, which won a Golden Globe earlier this year, was overlooked by the Oscars, and as good as Giamatti was, there were just too many outstanding male performances this past year.

Hoffman is also fun as Barney's father, and watch for Hoffman's real son Jake in a small role as Barney's son at an older age. Driver is fitfully annoying as his second wife, the pretty but chatty girl who can't seem to shut up. Speedman is adequate as Barney's junkie friend; a better actor with depth would've made a stronger impression, but he is blandly likable.

For what it is, "Barney's Version" goes on too long and there a couple of subplots from the novel that could've been trimmed here, but the last section is the most moving, when Barney starts to forget things. It could've ended up mauldin and sappy but Giamatti's poignant, understated scenes make it believable. The enjoyable "Barney's Version" is a treat to enjoy and a good late winter date movie.

Just Go With It - D

2011-02-11T16:21:00.010-06:00

Rated PG-13 for frequent crude and sexual content, partial nudity, brief drug references and language, 105 minutes

Please, do not "Just Go With It," the latest Sandler dreck

Truthfully, I do not hate Adam Sandler as a person. I've seen him in interviews and have heard for years what a nice guy he is. His movies, on the other hand, are a different story. Usually broad, low-brow comedy that's designed to entertain and make big bucks for the studio, Sandler clearly makes films for audiences and not for critics. His latest comedy, "Just Go With It," co-starring Jennifer Aniston, is no different. Offensive, unfunny and often boring, you've seen the best parts in the trailers.

Sandler is Dr. Danny Macabee, a successful Beverly Hills plastic surgeon who was jilted at the altar years ago due to his looks. Instead, he pretends to be married, and uses his bad "marriage" to pick up women for one-night stands. Then, he finally meets a girl named Palmer (Brooklyn Decker) that he really seems to like. She finds his fake wedding ring in is pocket and he concocts a story that he's actually going through a divorce. The only thing is, Palmer wants to meet his soon-to-be "ex," so Danny's assistant, Katherine (Aniston) pretends to be his ex and mother of his children. They plan a trip to Hawaii that will ultimately change all of their lives.

"Just Go With It" is an unfunny, tiresome waste of time and talent that follows the familiar Sandler formula of a schlubby guy finding the real meaning of love and relationships with a hot woman. This time, he brings down not one, but two lovely women, with the busty Decker and the always-hot Aniston to keep him company this time (but both of whom, especially Decker, are wasted; this represents a career-low for Aniston).

Aniston and Sandler, who have been longtime friends in real life, have a playful, warm chemistry together, but when the script (very loosely based on the 1969 film "Cactus Flower" that turned Goldie Hawn into a star) and direction from Dennis Dugan, who's responsible for most of Sandler's comedies, is this awful, it doesn't really make a difference. It's so offensively and predictably done that not even Oscar-winner Nicole Kidman's brief appearance could help this mess out; there's more T&A here for a PG-13 film than most rated R films.

"Just Go With It" could likely describe Sandler's Hollywood career. His inability to play anything other than a version of himself will likely keep him doing comedies like this for years to come, and audiences will continue shelling out their hard-earned dollars for unfunny muck like this. As with most anything Sandler does, I don't recommend it unless you plan on making out through it.

Justin Bieber: Never Say Never - B

2011-02-11T15:47:00.009-06:00

Rated G, 105 minutes

Pleasant Bieber concert film shows the boy has got it

No, I do NOT have Bieber fever, though I will admit that I liked "Justin Bieber: Never Say Never" more than I thought I would. I'm still not a huge fan of his music, but this enjoyable behind-the-scenes documentary concert film shows the boy wonder (and a Canadian no doubt!) does have talent, charm and the ability to attract a huge, huge female fan base. Even non-fans will have a little more respect for this young teen who has already sold millions of records and become a worldwide phenomenon.

The film tells the story of Bieber's discovery and rise to stardom, all as it follows Bieber on his 2010 concert tour. There are loads of interviews with family, friends, business associates and the like, not to mention lots of pictures and videos of a very young Justin before he got his start. Fans and non-fans will learn of Justin's humble upbringing - he was raised largely by a single mother and his grandparents in a suburb of Toronto, Canada - not to mention he was just a normal boy who enjoyed sports and had a keen interest in music. After he won a talent contest, his mother posted some of his videos on You Tube, and the rest is history.

"Justin Bieber: Never Say Never" is a pleasantly satisfying surprise for a couple of big reasons. For one, the boy has a charm and talent that few his age possess, and two, he isn't part of the faux-squeaky clean Disney or Nickelodeon machine. The insight into Bieber's background is what most revealing about the film, and he seems to be a genuinely nice, normal guy who has hit it big (he eats donuts out of the trash, dude please). Sure, the concert scenes are also fun, but his rags- to-riches story is by far the more interesting part of the movie.

The challenge with the film will be finding a large, mainstream audience outside of Bieber's large, almost exclusively female fan base, who seem to stalk the boy at every appearance. Initially it's fun to see some of his squealing young fans, but then a shade creepy when they show some of his fans who are a little old for something like this. Still, it's all good, clean fun, even with the likes of Miley Cyrus (Hannah who?), Usher (who helped discover Bieber), Boys II Men and Sean Kingston.

No, I won't be rushing to download any Bieber songs anytime soon, nor will I style my hair the way he does, but I'll say that the fresh-faced, lithe Bieber has the talent and charm to last longer than anyone named Miley or Jonas.

The Eagle - C-

2011-02-11T15:23:00.008-06:00

Rated PG-13 for battle sequences and some disturbing images, 114 minutes

This lifeless "Eagle" doesn't fly

First bad sign for a film: it doesn't screen for critics. Second bad sign: it stars Channing Tatum, though in fact the second sign may the reason for the first sign. No more speaking in circles, the handsome but pallid historical drama "The Eagle" crash lands and has trouble getting off the ground early on. Tatum is bland eye candy, even when surrounded by costumes and decent actors like Donald Sutherland, a great actor now doing movies like this one strictly for the money.

In 140 AD, twenty years after the unexplained disappearance of the entire Ninth Legion in the mountains of Scotland, young centurion Marcus Aquila (Tatum) arrives from Rome to solve the mystery and restore the reputation of his father, the commander of the Ninth. Accompanied only by his British slave Esca (Jamie Bell), Marcus sets out across Hadrian's Wall into the uncharted highlands of Caledonia - to confront its savage tribes, make peace with his father's memory, and retrieve the lost legion's golden emblem, the Eagle of the Ninth.

"The Eagle" is a tedious, flavorless affair that's awkwardly staged, unevenly scripted and badly acted. That wouldn't come as a surprise given that one of Hollywood's hottest young stars, Tatum, headlines the film. Slap a Roman costume on him, give him a sword and place him in the middle of some handsome sets, and the guy still can't act. His woefully in-and-out half British accent is the worst this side of Kevin Costner's Robin Hood. Even Robin Hood couldn't save this dreary, uneven film, which has epic aspirations of "Braveheart" or "Gladiator" but is more geared to the Lifetime Channel, given the legions of his female fans that watch him just to watch him.

Jamie Bell, that once eager "Billy Elliot" of long-ago, is better than Tatum though he needs to smile more, and Donald Sutherland, as the uncle figure here, gives another quick take-the-money and run performance that he learned from Sean Connery. The film has a few good action sequences, but the supposedly factual story, based on the 1954 historical novel "The Eagle of the Ninth" by Rosemary Sutcliff (itself a work of fiction), isn't given a great, or even entertaining, adaptation. Instead, we're treated to Tatum's posing and attempts at acting, not to mention a weird homerotic tension between the Tatum and Bell characters.

I wouldn't recommend it, unless you enjoy mediocre historical drama and awkward attempts at good acting.

The Illusionist - B

2011-02-11T15:03:00.003-06:00

Rated PG for thematic elements and smoking, 85 minutes

Soft-spoken but wistful "Illusionist" tells a sad tale

"The Illusionist" shouldn't be confused with the 2006 Christian Bale thriller "The Illusionist." Though both are about magicians, this is an animated story from Sylvain Chomet, who directed the fun tale "The Triplets of Belleville" a few years back. It's a pensively wistful, unique tale with minimal dialogue; though suitable for children, adults will get the most out of the emotionally rich story of a magician who's lost his passion.

An aging French magician is forced to leave his homeland and now lives in Scotland with a young woman he met there. Alice is a teenage girl with all her capacity for childish wonder still intact. She longs to be a real woman without realizing the day to stop pretending is fast approaching. She doesn't know yet that she loves The Illusionist like she would a father; he already knows that he loves her as he would a daughter. Their destinies will collide, but nothing - not even magic or the power of illusion - can stop the voyage of discovery.

"The Illusionist" is Chomet's enertaining but intelligent, sad tale of love, growing older and life changes; it's an unconventional animated tale filled with some beautiful images. Based loosely on the life of French artist Jacques Tati and his daughter, it's really a father-daughter love story set against the backdrop of Scotland. It's also nominated for Best Animated Film at this month's Academy Awards, a surprise but worthy nominee in a year filled wih great animated films.

The animation is much like a painting or drawing that comes to life; the audiences is actually engaged more by the minimal dialogue and Chomet is able to draw you into the downbeat story, though that lack of dialogue and depressing story may not be for everyone. If you enjoyed Chomet's "The Triplets of Belleville," you will enjoy this too as it has a similar tone and scope to it as that film. Also, please know that while it's animated, know that young ones may get easily bored with it.

Gnomeo and Juliet - C

2011-02-11T14:41:00.008-06:00

Rated G, 84 minutes

Say no to the animated Shakespeare ripoff "Gnomeo and Juliet"

The new animated film "Gnomeo and Juliet" is based on the classic William Shakespeare "Romeo and Juliet," is directed by one of the "Shrek" directors and voiced by some of the most renowned actors in the world. With such hefty source material and talent involved you'd think that it'd be better. Though it's certainly an original idea, much like gnomes themselves, "Gnomeo and Juliet" is shapeless, kinda weird and rarely funny.

Kelly Asbury, the guy who directed "Shrek 2," takes Shakespeare's most beloved, tragic play and fashions into a contemporary animated comedy about a couple of young garden gnomes (James McAvoy and Emily Blunt) on the opposite side of the fence who fall in love to the chagrin of their family and friends, voiced by Maggie Smith, Michael Caine, Patrick Stewart, Ashley Jensen, Jason Statham and even Ozzy Osbourne. But with plastic pink flamingos and lawnmower races in this family feud, can this young couple find lasting happiness?

There are a handful of fun moments in "Gnomeo and Juliet" and while the animation is bright and colorful, the story would make Shakespeare turn over in his grave and is tragic in more ways than one. Gnomes are a bit of a strange sight anyway, and while some may fancy them, cute and cuddly don't always come to mind. Veteran director Asbury, who's had plenty of experience with kind of thing, wants to do the same with Shakespeare's story as he did with "Shrek," but this one falls flat, unfunny and in some ways, just plain bizarre.

Kids who don't know Shakespeare's story still won't after this, given that the story is completely changed and bares little resemblance to the play. Shakespeare purists, or anyone that likes decent animation, should probably stay away. A pale imitation and ripoff of Asbury's own "Shrek" and "Toy Story." Not worth the money, particularly the 3-D.

The Roomate - D

2011-02-04T18:44:00.009-06:00

Rated PG-13 for violence and menace, sexual content, some language and partying, 93 minutes

You'll want to get rid of this dull, lazy "Roommate"

There's a good reason why I've never had a roommate, there are just too many issues with more than one person sharing a living space. "The Roommate" is one of the new year's worst films, a dull, predictable and unoriginal thriller that obviously fell apart in the editing room. It also wastes a few young talented stars in its wake, who won't want to add it to their cinematic resume.

University of Los Angeles freshman Sara (Minka Kelly) is randomly assigned a roommate for her first semester of college, the unassuming Rebecca (Leighton Meester). However, Rebecca turns out to be a disturubed psychotic as she obsesses over every aspect of Sara's life, relentlessly stalking her, leading to tragic results.

You can probably guess how the awful "The Roommate" turns out in the end, just by viewing the trailers for the film, and it isn't pretty, in more ways than one. Choppy, cheap and badly acted, it's unfortunately one of the first feature films from Danish director Christian E. Christiansen, he takes it down a path that all these types of films, geared toward the younger set, tend to go.

"Gossip Girl's" Meester has fun with the villain role but can't do anything about the fact that most of it isn't that scary; as the nice girl, "Friday Night Lights" Kelly is wasted, as is most of the rest of the cast (yes that's Billy Zane, with obviously nothing to do but dreck such as this). Fires are set, people are killed, even belly button rings are ripped out, but above all, the boring, dull "Roomate" is just a waste of time. Don't bother.

Another Year - B

2011-02-04T18:05:00.010-06:00

Rated PG-13 for some language, 129 minutes

Superbly-acted British drama "Another Year" channels life over a year

"Another Year" is a film from renowned director Mike Leigh ("Secrets and Lies") that is just now getting it's release in the states and in this area for the new year. Make it a point to see the touching, believable, albeit overlong, drama that's superbly acted, directed and written. It's surprising that the acclaimed film was largely overlooked by Oscars, receiving only a single nomination for its screenplay.

Tom (Jim Broadbent) and Gerri (Ruth Sheen) are a happy couple in their sixties, with professional careers and a grown son, but during the course of one year we see that some of their friends are not as happy. Mary (Lesley Manville), of of Gerri's close friends, has been drinking too much since her husband left her. Gerri tried to set her up with Tom's friends Ken (Peter Wight), but it did not work out. Now Gerri is surprised to find Mary flirting with Gerri's son Joe (Oliver Maltman), a man much younger than herself. Mary's emotional state is not helped when she stops by Tom and Gerri's house and meets Joe's new girlfriend.

Mike Leigh's poignant new drama "Another Year" has some nice shades to it; the family issues are familiar Leigh issues and it goes on too long in its second act, but it's definitely worth seeing for the touching, warm performances. It's evident that the cast, all of whom have worked with Leigh in his films over the years, is comfortable with his relaxed, improvisational direction. Unsurprisingly, he elicits the film's strongest performances from the women in the film, something that Leigh is noted for (see Brenda Blethyn in "Secrets and Lies" and Imelda Staunton - who has a brief role here too - in "Vera Drake").

Sheen's straight-laced, caring Gerri grounds the film well, but it's British character actress Lesley Manville, as Gerri's flighty, overemotional best friend that bursts the film open to new territory. It's the type of character that Shelley Winters would've probably played back in the 1950's, and it's a tribute to Manville's remarkably touching perfomance that she steals the film, given that the film is a supporting role. The film's long stretches without her may have the audience missing her, though Leigh's strong direction and story hold up on their own.

Without Manville, the relationship-oriented "Another Year" wouldn't be as much fun, but it's still worth seeing. It's too long, especially in the final act, but you'll have yourself wondering why the deserving Manville wasn't nominated for an Oscar for Supporting Actress.

Sanctum 3D - C-

2011-02-04T17:44:00.010-06:00

Rated R for language, some violence and disturbing images, 109 minutes

Cave exploration thriller "Sanctum" comes up short

The new 3D thriller "Sanctum" is very fortunate to have Oscar-winning director James Cameron's name above the top as an executive producer. He may change his mind after he sees the flat, disappointing film that's inspired by true events. Some of the action sequences are OK, but everything else - the story, acting, dialogue and special effects - are second-rate at best.

Master diver Frank McGuire (Richard Roxburgh) has explored the South Pacific's Esa-ala Caves for months. But when his exit is cut off in a flash flood, Frank's team - including 17-year-old son Josh (Rhys Wakefield) and financier Carl Hurley (Ioan Gruffuld) - are forced to radically alter plans. With dwindling supplies, the crew must navigate an underwater labyrinth to make it out. Soon, they are confronted with the unavoidable question: Can they survive, or will they be trapped forever?

"Sanctum" is an unsatisfying, predictable 3D ride that definitely isn't worth it and seems a lame excuse to set up the cave sequences. The weak, weak story and unmemorable direction from newcomer Alister Grierson make this thriller a huge disappointment if you're expecting Cameron's size first-rate effects. Instead, the effects are second-rate, at best, and while some of the action sequences keep things moving, it ultimately becomes too predictable and unrevealing.

The story, based on the real experiences of the film's writer, Andrew Wright, it falters in its storytelling and presenting any shaded characters. The cave walls are far more memorable, but after while you come to know what to expect. As for the 3D, it also disappoints considerably, making "Sanctum" definitely not worth your movie dollar this weekend.

Biutiful - A-

2011-01-28T16:12:00.006-06:00

Rated R for disturbing images, language, some sexual content, nudity and drug use, 147 minutes
In Spanish with English subtitles

Bardem is perfecto in the anguishing drama "Biutiful"

"Biutiful" is not always beautiful to watch. As a matter of fact, some of it's downright difficult to watch. The wrenching, overlong new drama from Mexico stars Oscar-winner Javier Bardem ("Eat Pray Love") and after viewing the film, it's none too surprising that Bardem received a nomination for Best Actor and the film is a shoo-in for the Best Foreign Language film Oscar. It's a staggering, brauvera performance that as painful as it is to watch, you can't take your eyes off Bardem, who single-handedly carries the film.

"Biutiful" (it is the Spanish-language spellling of the word beautiful) tells the journey of Uxbal (Bardem), a conflicted man who struggles to reconcile fatherhood, love, spirituality, crime, guilt and mortality amidst the dangerous underworld of modern Barcelona. His livelihood is earned out of bounds, his sacrifices for his children know no bounds but then Uxbal is diagnosed with cancer and his life changes once more. Like life itself, "Biutiful" is a circular tale that ends where it begins. As fate encircles Uxbal and thresholds he must face the challenges of love, forgiveness and true redemption.

"Biutiful" is a painful, overlong but beautiful story of redemption, love, and family, as so poignantly told by acclaimed Mexican director Alejandro González Iñárritu ("Babel," "Amores perros") and superbly acted by Bardem, who is deserving of the accolades he's received for the downbeat, very long film. Most of Inarritu's messages are well-played with relevance by Bardem, who deglamourizes himself for the role, but it's more than just an "illness of the week" story of someone trying to make good; the messages are deeper and more heart-felt than that as Uxbal comes to terms with death and dying and must make amends with his loved ones.

Inarritu photographs Uxbal's tragic story with dark overtones and close-ups to give a shared intimacy with his story, and you will be right there in the midst of Uxbal's painful story from start to finish. Much like some of his earlier tales, Innaritu shows he's a fine filmmaker but one who can be redundant and one who could trim a few minutes of excess that don't move the story along as well as it should. But otherwise "Biutiful" is a superb, finely acted, emotionally rich and sad portrait of a man's journey from this life and comes highly recommended.

Ip Man 2 - C

2011-01-28T16:09:00.004-06:00

Rated R for violence, 107 minutes
In Mandarin Chinese and Cantonese with English subtitles

More of the same kung fu in "Ip Man 2"

If kung fu or marital arts is your thing, you'll enjoy "Ip Man 2," the sequel to the successful Chinese 2008 film "Ip Man," a semi-autobiographical tale of Ip Man, a grandmaster of the Wing Chun martial arts. This follows Ip Man (Donnie Yen, again reprising his role) in Hong Kong following the events of the first film, this time facing even more challenges from other martial arts practictioners in the area. Chinese filmmaker Wilson Yip again directs, but the flimsy story seems a weak excuse to stage some sublime martial arts sequences, which are the clear highlight of the film. The fast-paced, quick style provides good enough reason why the "Ip Man" films are so popular in the East and just now audiences are beginning to discover them. The first film is clearly better, but if you want some above-average martial arts, then "Ip Man 2" is your man.

From Prada to Nada - D

2011-01-28T00:57:00.005-06:00

Rated PG-13 for brief drug use and a sexual situation, 107 minutes

There's nada worth seeing in the Latina comedy "From Prada to Nada"

At least there's nothing good worth seeing in "From Prada to Nada," a Latina version of Jane Austen's "Sense and Sensibility" yet Austen would turn over in her grave if she knew what her story was turned into. Starring Camilla Belle and Alexa Vega as two wealthy Beverly Hills sisters who are forced to give up their lifestyle when their father suddenly passes away. They must trek across town to live with their Aunt (fine Oscar-nominated character actress Adrianna Barraza woefully slumming it here) in East L.A. Austen's story, played as an Elle Woods-fish-out-of-water story, is cheap, offensive and plays to Latina stereotypes in the worst way, and how many times must we hear "Cielito Lindo." Belle and especially Vega (who you may remember as the little girl from the "Spy Kids" films) are shrill, unfunny and play it out like an Latina version of "Hannah Montana," minus any comedy. Forgettable, stale as a three-day old corn tortilla, this one (obviously geared toward the tween set) lacks any spunk, spark or spice. Stay away.

The Way Back - B

2011-01-28T00:54:00.009-06:00

Rated PG-13 for violent content, depiction of physical hardships, a nude image and brief strong language, 133 minutes

Touching but overlong "The Way Back"

"The Way Back" is one of those hidden gems of a film based on a reportedly true but little-known story set in Russia during World War II. It tells the story of a Russian gulag who escape from prison and trek over 4000 miles from Russia to India over some treacherous, deadly terrain. Directed by veteran filmmaker Peter Weir ("Dead Poets Society," "Witness"), the epic film is an overlong but moving, uplifting journey to freedom.

Janusz (Jim Sturgess) is a young Polish POW sent to 20 years in a Russian prison in Siberia for supposedly being a spy by the Russian government. There he meets an elderly American who calls himself Mr. Smith (Ed Harris) and a Russian lowlife named Valka (Colin Ferrell). They along with a few others in their Gulag escape into the Siberian forest with plans to trek Mongolia to freedom. Along the way, they pick up a Polish orphan named Irena (Saiorse Ronan), on the run from the Russian government and nowhere to go. They're plans unexpectedly change and they decide to go to India instead, though the treacherous terrain and longer journey will undoubtedly claim a few, if not all, of the Gulag along the way.

"The Way Back" is a fascinating, touching portrait of an excessively long, tough road to freedom. Based on the book "The Long Walk" by Polish POW Slawomir Rawicz, it's based on his supposed true story though in fact much of it is fiction (even director Weir now says this). Epic in scope, Weir directs and co-writes the screenplay with a sweeping focus, though the story holds up well on its own, and the small, emotional moments in the extensive film are the more beautiful ones. Handsomely told, it's overlong and requires you to stay with it until the end, but once you get there it's a beautiful place.

Sturgess and Harris ground the film well in solid performances, as does young Oscar-nominee Saiorse Ronan ("Atonement") as the lone female for much of the film. Ferrell is decent in what is really a non-essential role, he's there to add a little toughness to the film, but Harris already does that nicely. Ferrell's abrupt exit from the film in the second act is a bit baffling considering how far his character has come, and the film actually works better without him.

Shot on location in several locations, including Morocco, Bulgaria, India, and Pakistan, there are some lovely set pieces and entertaining moments, but "The Way Back" does go on too long, and Weir could've trimmed some of the second act down, but overall, it comes recommended whether it's true or not. Too bad "The Way Back" hasn't received a wide release because it's a satisfying journey and worth it in the end.

The Mechanic - C

2011-01-24T23:30:00.039-06:00

Rated R for strong brutal violence throughout, language, some sexual content and nudity, 94 minutes

"The Mechanic" is forgettable, trashy entertainment

"The Mechanic" is a weak machine. Forgettable, trashy and fast-paced entertainment that will likely be a modest hit, it's actually a remake of a trashy 1972 Charles Bronson vehicle. Loud and unnecessary, it utilizes Jason Statham well, who has morphed into a decent, if not low-grade, action-hero. He's paired with Ben Foster, a terrific young actor who often underuses his talents, though he makes for a fine bad guy.

Here, Statham is Arthur Bishop, a hired hitman by Harry (Donald Sutherland) who makes millions by hiring people like Arthur to do his dirty work. Because Harry is so corrupt himself, he ends one of Arthur's victims, and then Harry's estranged, slimy son named Steve (Foster) shows up and becomes an apprentice hitman with Arthur as the teacher. Together they work to bring down the slimeball (Tony Goldwyn) who still runs Harry's company.

Trashy, typical forgettable winter fare, "The Mechanic" makes good use of Statham and Foster, who still can't overcome how ridiculous and unnecessary the story is to begin with. Statham can play these roles in his sleep and will continue making good money playing them, much like Bronson himself did in the 1970s and '80s. Directed with loud, unoriginal flair by Simon West ("Lara Croft: Tomb Raider"), West thinks the bigger explosions the better, but after all they all run together, and after it's over, you won't remember much of it.

The Company Men - B+

2011-01-24T23:30:00.032-06:00

Rated R for language and brief nudity, 104 minutes

Relevant, affecting “Company Men” tackles a difficult subject

If you’ve ever been laid-off from a job, then “The Company Men” will hit closer to home than you want it to. The pertinent, well-acted drama tackles the issue of unemployment due to corporate restructuring; whereas last year’s “Up in the Air” told the same story from the people doing the laying off, this has to do with those being laid-off. Downbeat but fresh, “The Company Men” features a superbly talented cast in what was one of last year’s overlooked gem’s; some of it lacks a sharp, edgy quality to it but it’s certainly worth a look.

When the Boston-based GTX Corporation must cut jobs to improve the company's balance sheet during the 2010 recession, thousands of employees will take the hit, like Bobby Walker (Ben Affleck). Bobby learns the real life consequences of not having a job. Not only does he see a change to his family lifestyle, and the loss of his home, but also his feelings of self-worth. It also affects those left behind at the company to pick up the pieces, including disillusioned executives Gene (Tommy Lee Jones) and Phil (Chris Cooper), who are also at a crossroads in their personal and professional lives.

“The Company Men” tackles a heavy subject with an effective, sublime grace and poignancy. It’s no wonder the film has been overlooked, with so many out of work some audiences may not care to see something that hit so close to home. Directed and written by “The West Wing” producer John Wells, it shows how differently unemployment affects people and how remarkably attached to our jobs we are, it can make us or break us. It also has one of the best casts of recent memory, including Oscar-winners Affleck, Jones, Cooper along with fellow Oscar-winner Kevin Costner, Maria Bello, Craig T. Nelson and Rosemarie DeWitt.

Of the large cast, Affleck and Jones, who work remarkably well together, are most effective (and sympathetic), and it’s also nice seeing Costner in a supporting character part (and decent Boston accent). The movie is slow-going in its mid-section and some parts of the later-going are a bit predictable, but it’s wholly believable and involving, with some parts downright touching. Wells’ approached is a bit scrubbed and too clean-cut, but then his view is primarily middle America.

Sure, it’s not exactly a crowd-pleasing subject, but give the winning “The Company Men” a shot, it’s one of the year’s most affecting films.

The Rite - C

2011-01-24T23:30:00.027-06:00

Rated PG-13 for disturbing thematic material, violence, frightening images, and language including sexual references, 127 minutes

Except for Hopkins, the dull "Rite" is mostly wrong

Sir Anthony Hopkins can do wrong, even in movies that aren't quite right, as is the case with his new thriller "The Rite." Whether playing Hannibal Lecter or C.S. Lewis, he embodies each character he plays with sublime perfection. He does the same in the "The Rite," a dull and hokey horror film that until the film's final minutes, drags instead of thrills. A few jumps along the way don't make for a great film.

Based on the nonfiction novel "The Making of a Modern Exorcist," "The Rite" concerns an American priest named Michael Kovak (Colin O'Donoghue) who has become dillusioned with his time in seminary and is questioning his faith. He is sent to study at an exorcism school in Rome, and is paired with an unorthodox Welsh priest Father Lucas (Hopkins) famous for his many exorcisms. While at the school, Michael meets a European journalist (Alice Braga) seeking questions of her own, but the two, along with Father Lucas, come face to face with true evil that will change them all.

"The Rite" is a slick but empty thriller that comes up short on chills and backstory. Without Oscar-winning legendary actor Hopkins on hand, it would've been a total drag. When exorcism/demon movies get it right, which is rarely, it can be genuinely frightening - "The Exorcist," "The Omen" and "Carrie" are prime examples - but when they don't, which is pretty much everything else, it can be as wrong as "The Rite": dreadfully slow and confusing with a few jumps thrown in for good measure.

"The Rite" is problematic in a few areas. First, the direction by Mikael Hafstrom ("1408") doesn't bring out many details of Michael Petroni's (writer of the recent "Narnia" film) vague, murky script with little backstory, especially into Hopkins' vastly underwritten role. It's a tribute to Hopkins' acting prowess that he can generate any interest at all in his character or the film itself for that matter, which is really a thin excuse to turn Hopkins into another evil character. Second, Irish TV actor and relative newcomer O'Donoghue is miscast as Kovak, but his blandness is strikingly amiss anytime he's onscreen with Hopkins, which is most of the movie.

And while "The Rite" is slickly, handsomely produced (and supposedly inspired by a true story), especially with Hopkins on hand, it lacks the genuinely frightening thrills that stick to you like pea soup. It starts off mildly interesting (and watch for a barely recognizable Rutger Hauer in a tiny role as Kovak's father), drags considerably in its mid-section, only to re-energize for an entertaining climax. "The Rite" could've been much more frightening, but it all comes off with a few pops instead of the fireworks it should've been. Hopkins is always worth watching, even in something as dull as "The Rite."

All Good Things - C

2011-01-20T16:33:00.005-06:00

Rated R for drug use, violence, language and some sexuality, 100 minutes

Chilling but unsatisfying “All Good Things”

“All Good Things” is a fascinating, well-acted but unsatisfying thriller based-on-a-true crime story, which works in its favor but is also its biggest flaw. Based on the chillingly bizarre experiences of rich real estate investor Robert Durst, for some reason the story is given a fictional slant, an odd choice from the filmmakers given their stance in essentially implicating Durst of the crimes.

Ryan Gosling is David Marks, the son of wealthy New York City real estate investor Sanford Marks (Frank Langella). He meets the girl of his dreams, a pretty, smart blond named Katie McCarthy (Kirsten Dunst). When they get married, David leaves the family business as he and Katie buy a health food store named “All Good Things.” But David is lured back to the business, the two begin leading separate lives and Katie applies to medical school. However, David begins acting strangely and violently toward Katie and others, and Katie disappears. Through a strange series of events over the years, the now 20-year old case of Katie’s disappearance is re-opened.

“All Good Things” is an intriguingly murky, well-acted dramatic thriller whose real-life story seems to cast a pall on its effectiveness. It’s well-acted and “Capturing the Friedman’s” director Andrew Jarecki, directs “All Good Things” with an astute attention to detail, but it’s baffling as to why Jarecki and his screenwriters Marcus Hinchey and Marc Smerling didn’t just use Durst’s story outright instead of changing the names and a few minor details (even Durst himself - strangely enough - has approved the film).

Gosling and especially Dunst, in an understated, low-key role, are quite good as the couple with some problems, but the unrevealing, confusing script doesn’t provide insight into the notorious real-life case and explaining some of Durst's bizarre behavior, especially in the film’s last act. The title of the film, "All Good Things" itself is an odd choice; ironically it's the only thing about the actual Durst case not fictionalized in the film, the name of the health food store Durst and his wife had, but it's such a fleeting, minor part of the movie it seems an ill-fitting name. Sure, it’s supposed to be a metaphor for Durst’s life, though in reality it would apply to just one part of his life and not the case as a whole.

“All Good Things” ends up a vacuous, hazy tale of rich people acting badly, rather than intimately profiling an intriguing, somewhat appalling character as Durst, who as an adult was diagnosed with Asperger’s syndrome, which isn’t even mentioned here. The unresolved missing person case of Kathleen McCormack, Durst’s missing wife since 1982, deserves a more fulfilling, powerful examination than “All Good Things” gives it.

No Strings Attached - B-

2011-01-20T16:32:00.012-06:00

Rated R for sexual content, language and some drug material, 110 minutes

Kutcher, Portman a likable team in "No Strings Attached"

If there ever a movie couple you were rooting for, it'd be Ashton Kutcher and Natalie Portman, in the predictable but likable new rom com "No Strings Attached." By now, you've probably have seen the ads, but the premise is a familar one: the two leads engage in a "friends with benefits" or "sex friends"-type relationship to keep their relationship less complicated. This is far more pleasant than you want it to be and the engaging leads bring it a notch above other movies in this genre, even if you know exactly where it's going to end up.

Kutcher is Adam and Portman is Emma, childhood pals who forge an unlikely friendship over the years that turns into a strictly a sexual relationship only, a contemporary term called "friends with benefits." This seems to work well especially for the busy Emma, who is working long hours to complete her residency at a local hospital, and Adam, an assistant on a high school-themed TV show. However, as we all know by now, relationships carry with them far more complications than just sex, and the two must either decide to carry on a serious relationship or go their separate ways.

"No Strings Attached" is a charming but calculated romantic comedy that might exceed your expectations, given this time of the year isn't a great time for films (Nicolas Cage, The Green Hornet and Vince Vaughn, take note!). It helps that it has two enormously appealing leads in Kutcher and Portman, the latter of whom is playing it far less intense here than her recent, award-winning turn in the psychological drama "Black Swan." Second, it also helps that the director is veteran Ivan Reitman (of "Ghostbusters" and "Twins" fame and father to Jason Reitman), whose steady hand keeps things from going awry, or in this case, keeps Kutcher from mugging for the camera too much.

"No Strings Attached" also benefits from a stellar supporting cast that clicks well, something that is often hard to come by these days. Oscar-winner Kevin Kline is hilarious as Kutcher's famous father, and he promptly steals every scene he's in (and by the way, the birthday song he sings to Kutcher is a tune the talented Kline wrote himself). Lake Bell, Ludacris, Jake Johnson and "The Office's" Mindy Kaling all contribute a few good laughs along the way; yes, the film is a tad raunchy but mostly in good fun (it's R rating comes mostly from the strong language, not the sex scenes, which are actually pretty tame for a film about "sex friends").

You have a sense even by seeing the trailers for the film of where the charming but mildly forgettable "No Strings Attached" will end up, after all this is Hollywood's most predictable genre, and in many ways it takes far too long to get there. But the cast and director's seemingly unaffected approach and likable performances will grab you and touch you before you can say "friends with benefits." Fun yet absorbing, this is a great date movie and exactly what the recent "Love and Other Drugs" should've been but wasn't.

The Dilemma - C-

2011-01-14T15:30:00.011-06:00

Rated PG-13 for mature thematic elements involving sexual content, 112 minutes

Dark and uneven, this "Dilemma" is no fun

The trailers for the new comedy "The Dilemma" feature a Maroon 5 song called "Misery" to describe the situation that Vince Vaughn and Kevin James are in. It could also very well describe having to sit through this wildly uneven, surprisingly dark and unfunny comedy that attempts to tackle some serious issues. What's worse, it wastes the talents of director Ron Howard, clearly slumming it here, along with an A-list cast.

Ronny (Vaughn) and Nick (James) are best friends and partners in an auto design firm. They are pursuing a project to make their firm famous. Ronny sees Nick's wife Geneva (Winona Ryder) kissing another man (Channing Tatum). Ronny seeks out answers and has to figure out how to tell Nick about what he saw while working with him to complete their critical presentation but could also cause some problems in trying to ask his longtime girlfriend (Jennifer Connelly) to marry him.

"The Dilemma" is a dreadful and dreadfully unfunny dark and talky comedy with a couple of big problems First, the marketing campaign for the film is a bit of a bait-and-switch. It markets the film as a lighthearted comedy, and the film is far from lighthearted, fun or humorous in any way. Second, the film has the wrong director. Oscar-winner Ron Howard has been around for years, but Howard is clearly out of his element here, and he's ill-matched with both the actors and the material.

With that said, "The Dilemma" would've worked better with a director more suited to the material. The film goes back and forth dealing a myriad of relationship, friendship and marital issues, along with honesty and integrity personally and professionally. The subplot with the small business really doesn't belong in a film about relationships.

Vaughn and James do their best with the material, but don't expect another "Wedding Crashers," Vaughn's biggest hit that he has been trying to replicate with awful comedies like this. Vaughn tread similar ground with then-girlfriend Jennifer Aniston in "The Break-Up" a few years ago, but even that film, while hardly a classic, had a few more light moments. It only further reveals that Vaughn, while a likable comedic star, is growing annoyingly overrated and tiresome, which could also explain the film in a nutshell.

The film itself is also remarkably misogynistic in the treatment of its female stars, even the female characters who cheat. Oscar-winner Connelly and Ryder, both of whom are wasted here, are given second billing to their male counterparts though they have as much to do with the story as the men. Especially uncomfortable is the bizarre, unnecessary cameo from Queen Latifah, who pops in and out of a couple of scenes spouting dialogue like "I want to have sex with your words." Huh?

The unsatisfying ending in this overlong, dour dramedy may be "The Dilemma's" biggest sigh of relief, but only because the film is finally over. If you're going expecting a laugh-out loud comedy, "The Dilemma" is not it and definitely not worth your movie dollar this weekend.

The Green Hornet - C+

2011-01-13T22:09:00.011-06:00

Rated PG-13 for sequences of violent action, language, sensuality and drug content, 105 minutes

"Green Hornet" is hit-or-miss superhero fun

I will say right off the bat, for those interested, and I'm sure there are many, that the new superhero film "The Green Hornet" is not awful. As a matter of fact, the entertaining film is energetic, well-cast (with one major exception, more than that later), and filled with the coolest car this side of the General Lee. But a bunch of nifty gadgets and a hot car don't necessarily make for a great film, and this modern take on "The Green Hornet" is re-envisioned as a buddy-buddy comedy, a genre that is largely (like this film) very hit-or-miss.

Playboy Britt Reid (Seth Rogen) becomes the new publisher of Los Angeles' "The Daily Sentinel" after the sudden death of his father. Britt's party life is about to change when he and his driver and kung fu expert, Kato (Taiwanese actor and singer Jay Chou), stop a robbery. With the help of Kato, Britt starts a new career of fighting crime as the masked superhero "The Green Hornet."

The entertaining but forgettable "The Green Hornet" is the latest superhero film to emerge, and with mixed results. What works: Kato, a smokin' hot car, the gadgets and a delicious villain in last year's Best Supporting Actor, Christoph Waltz. What doesn't: Rogen and an uneven, all-too-familiar superhero storyline (penned by Rogen and his frequent collaborator, Evan Goldberg). An inspired director like Michel Gondry ("Eternal Sunshine of the Spotless Mind") fortunately keeps it from being a total mess, which it could've easily been given the star and the script.

"Green Hornet's" script meanders way too much, doesn't give enough background and relies too heavily on the charm of the now slim and trim Rogen, a likable comedic actor, but as a superhero, a mixed bag. On one hand, he provides the film with a little levity and spunk, which isn't necessarily bad, but it also reveals Rogen's annoying penchant for talking too much and stating the obvious (and obvious that he co-wrote the script, giving himself the best lines), something that works well in buddy comedies but grows tiresom here.

Taiwanese actor Chou is the real find here at Kato, utterly charming with minimal dialogue and the one who really makes The Green Hornet who he is, the creator of all the cool gadgets and one smokin' hot car, a mid-1960's Chrysler Imperial. He, along with a wonderfully funny villain in Waltz ("Inglourious Basterds") nearly steal the show (especially in a terrific opening sequence with Waltz) and probably would've had it not been for gadget-filled car. Wonderful character actor Tom Wilkinson is seen in a tiny role while Cameron Diaz is wasted in a one-note secretary role; note to Diaz: you're not Lois Lane or Pepper Potts.

"The Green Hornet" stumbles badly in the final stretch toward an ill-conceived climax and it certainly leaves it open for more of these, but if there are some improvements should be made. Keep Rogen the actor, fire Rogen the writer, and give Kato his own movie. Don't get me wrong, you'll be enertained by "The Green Hornet," but it's nowhere in the league of "Spider Man" or "Iron Man." Do stay over until the end for some colorful end credits, which work well in 3D.

Blue Valentine - A-

2011-01-07T10:20:00.004-06:00

Rated R on appeal for strong graphic sexual content, language, and a beating, 114 minutes

“Blue Valentine” finely details what happens after the honeymoon

If you’re a newlywed, then “Blue Valentine” may not be the best movie for you to see. Otherwise, it’s a finely drawn, superbly acted but pensive romantic drama about a married couple’s communication issues. Ryan Gosling, who stars in the film and starred in “The Notebook,” has said this works as a perfect companion piece to that aforementioned film.

Gosling is Dean, Michelle Williams (“Brokeback Mountain”) is Cindy, a lower middle-class couple with a small daughter. They fell in love years ago but like many married couples, have gone in different paths. Cindy, a pretty small town girl, wants a stable life and career, while the eccentric Dean is perfectly happy revolving his life around his family; as they come to a crossroads in their marriage, they reflect on a happier time during their courtship.

“Blue Valentine” is a sad, leisurely but often emotionally gripping drama about the dissolution of a marriage. It perfectly contrasts the earlier time when the couple fell in love with the later “older” married couple that has grown distant and annoyed with each other. Documentary filmmaker Derek Cianfrance directs and writes a pensive character study that is hallmarked by two excellent performances from the leads, who make an otherwise reflective, downbeat film watchable.

Gosling and Williams are two of contemporary cinema’s finest actors, in a portrait of a troubled contemporary marriage that’s often difficult to watch, especially in the film’s darker (there are a handful of explicit scenes for those that care about that thing), even heartbreaking, last act. Both Gosling and Williams are wholly believable and their warm chemistry together is effective at getting the audience to buy into their relationship early on in the film. Though both actors carry the film, Williams is especially good as the shattered young wife who is unable to communicate with her husband, and of the two, she is the more likely to receive an Oscar nomination.

“Blue Valentine” is filled with many great scenes, and while it isn’t a perfect film (a little choppy at times, a very downbeat tone), Gosling and Williams, in two of the year’s best performances, will help you emotionally connect to the story and make this gripping film a must-see.

Season of the Witch - D-

2011-01-07T10:19:00.008-06:00

Rated PG-13 for thematic elements, violence and disturbing content, 98 minutes

Not a good time for the awful Cage drama "Season of the Witch"

I must admit that January must be a cursed month for good movies. Coming off the holidays, we're treated to leftovers or Oscar-worthy films now just making their way to the area. If January were to be Crappy Movie Month, then the new Nicolas Cage film "Season of the Witch" would fit in just fine. Cage's career may be cursed after you see his wretched new action film, but then his career (and his finances) may have gone south awhile ago. A silly attempt at blending a period film, action-adventure and buddy-buddy comedy proves to be a colossal bomb for everyone involved.

A medieval knight named Behman (Cage) undertakes a mission pitting him against a devious witch and making him the last hope for the world against an ancient and dark force. His faith broken by years of battle as a crusader, Behmen returns to central Europe to find his homeland decimated by the Black Plague. Behmen and his trusted companion, Felson (Ron Perlman totally wasted) are ordered by the dying Cardinal (Christopher Lee) to deliver a young peasant girl (Claire Foy) believed to be the witch responsible for the Plague back to her home to be destroyed, but find the mission is more challenging and the girl more powerful than they ever believed.

"Season of the Witch" is a dreadful, totally disappointing action mess with Cage sleepwalking through another role with a messful of fake hair. The worst thing about the film, other than Cage himself, is the fact the film loses connection with its audience early on with some jumbled, confusing tale about the Crusades and witches. Had it focused just on the Cage-Perlman pairing, it might - and that is a big might - have been tolerable. But director Dominic Sena, who directed that other lousy Cage film, "Gone in 60 Seconds," fills the proceedings with unnecessary fights, action and loads of second-rate special effects. Lost in all this is Cage and Perlman mumbling lines attempting to be funny.

"Season of the Witch" is unfortunate in that it wastes so much talent and time, but most unfortunate in the fact it's just a bore and not a bit tense or scary. This is a story that could've worked well, but fell into the hands of the wrong actor and director, and turned it into an awful modestly-budgeted travesty that's hardly watchable. "Season of the Witch" is Cage's worst film in ages (which is saying a lot) and is cursed from the start, and I'd recommend skipping it all together.

Country Strong - C-

2011-01-07T10:16:00.005-06:00

Rated PG-13 for thematic elements involving alcohol abuse and some sexual content, 112 minutes

Music best thing about the weak, soapy drama "Country Strong"

Well at least the music is good, if you're a country music fan that is. The uneven new film "Country Strong" is certainly a likable film, Oscar-winner Gweneth Paltrow will charm your socks off as the lead, and there are a few toe-tapping original country-flavored songs, but everything else is a mess, primarily the stale, melodramatic script, a disjointed tone and a sloppy editing job.

Paltrow is fallen country music star Kelly Canter, whose rough living has landed her rehab and the eyes of a young worker at the rehab named Beau (Garrett Hedlund), a promising singer and songwriter himself. Kelly's controlling husband and manager James (Tim MacGraw) pushes her back on the road too soon, though Beau and another rising country music star, former beauty queen Chiles Stanton (Leighton Meester) tag along as her opening act. Romantic complications and demons threathen to derail Kelly's comeback and the lives of everyone around her.

"Country Strong" is a forgettable, borderline lousy movie made better by the movie and the Paltrow's homespun charm. This is essentially a female version of last year's superior Jeff Bridges film "Crazy Heart," but without any of the grit, style or sense of emotional connection to the characters. Paltrow tries hard but even her much-talked about singing, well there's not much of it or to it; we only hear her sing a few minutes of the film and what we do hear is a serviceably sweet, thin voice that sounds better as a backup.

While Paltrow is the best thing here, the contrived script and sloppy direction from Shana Feste ("The Greatest") don't do her justice. Her co-stars don't fare much better, but her handsome young co-star Hedlund (interestingly enough, Bridges co-star in another recent mediocre film, "Tron: Legacy") is the most memorable and believeable of the cast as a cowboy trying to make it big (he has a strong voice too). Country music star MacGraw should know a thing about country music but obviously not acting, as he lacks any sort of plausibility as Paltrow's husband and manager. Even worse is "Gossip Girl's" Meester, carrying a fake accent and smile that makes her romantic scenes with Hedlund cringe-worthy.

"Country Strong" doesn't give country music a good name (same for the city of Dallas for that matter) though the country music soundtrack, already a hit, is the only memorable thing to come from the film. The story goes off in too many directions, lacking a core emotional connection and any sense of what these characters are or mean. They sing, they cry, they sleep together, sing some more and drive off into the sunset. Sounds like a twangy country song doesn't? Not a very good one at least, and not a very good movie, either.

My Best and Worst Films of 2010

2010-12-30T23:17:00.002-06:00

Before the year ends I better throw out my picks for the best and worst films of 2010.

Everyone's a critic, including myself and I don't pretend to be the expert of all experts when it comes to movies, but after having seen almost 200 movies this year, these are the best (and worst) that I've seen in 2010.

2010 wasn't the best year we've had in film, but latter part of the year came some great films (I don't have a single film before June on my list, sorry). Drum roll please...

Best Films of 2010 - My Top 10
(in no particular order)

The King's Speech
This fact-based story on King George VI is a complete, utter winner, with an unforgettably stunning and Oscar-worthy performance by Colin Firth as the stuttering king. Keep plenty of tissues for the ending.

The Fighter
Sure, boxing stories have some of the same, predictable themes: people get beat up inside and outside the ring. But the stellar, affecting performances from all in the cast made this gritty true story of Boston fighter Mickey Ward a must-see. Christian Bale is a shoo-in for the Supporting Actor Oscar.

Black Swan
This behind-the-scenes psychological ballerina tale from Darren Aronofsky is bizarre, twisted and sublimely performed by Natalie Portman, Mila Kunis and Barbara Hershey. You won't easily forget the stunning ending, either. Portman is a strong front-runner for the Best Actress Oscar.

127 Hours
Yes, the scene in this true story based on stranded hiker Aron Ralston where he chops his arm off is difficult to watch. But director Danny Boyle and actor James Franco succeed in making the year's most affecting, wrenching tale with grace, humor and charm.

Inception
The year's most original, mesmerizing movie is also the year's most difficult to understand. However, Christopher Nolan and his actor look-alike, Leonardo DiCaprio, have you hooked from the first scene to the most-provocative cinematic ending of the year. Worth multiple viewings.

The Town
I would have never thought I'd have a film made by and starring Ben Affleck in my Top 10 list, but Affleck has become a smart, astute filmmaker, and this tense, taut and believable heist flick works only because of Affleck's stellar direction (who delivers a decent performance here too).

The Social Network
Maybe a smidgen overrated by now, you can't deny the influence that Mark Zuckerberg and Facebook have had on our society. With smart, zippy dialogue and superbly acted by Jesse Eisenberg and Andrew Garfield, put this on your must-see list if you haven't yet.

The Kids Are All Right
A wonderful, touching story about a lesbian couple and their family, delivered sublimely by an A-list cast that included Julianne Moore, Mark Ruffalo and especially by Annette Bening, who delivers another layered award-worthy performance. Note to the Academy: please give Bening the Oscar already.

Toy Story 3
2010 was a great year for animated films, with "How To Train Your Dragon," "Tangled" and "Despicable Me," but Buzz, Woody and the gang were back for their most touching adventure yet. After the three-hanky ending, you'll need time to yourself.

Winter's Bone
Sure, this story about a back-woods teenage girl searching for her father was on the depressing side, but the unforgettable, mature (and likely Oscar-nominated) performance from newcomer Jennifer Lawrence was one of the year's breakthrough turns.

Honorable Mentions:
How to Train Your Dragon, True Grit, Despicable Me, Ghost Writer, Get Him to the Greek, Iron Man 2, Nowhere Boy.

Worst Films of 2010
(in no particular order)

Gulliver's Travels
Sure, it's easy to list this one since it just came out on Christmas Day, but this is not only an awful travesty, it's just plain awful. A 3D, all-star kids version of Jonathan Swift's classic story starring Jack Black seemed playful on paper, but on screen it's a painfully unfunny embarrassment to all involved.

Little Fockers
Another star-studded miserable year-end experience. This woefully unfunny, unecessary and expensive sequel in the "Meet the Parents" franchise was its worst. Even the presence of DeNiro, Stiller, Owen Wilson, Streisand and Hoffman couldn't make this watchable.

Killers
Katherine Heigl and Ashton Kutcher are two of cinema's most handsome actors. Put them together and what do you get? One annoying, boring, lousy mess of a rom com about spies in the suburbs that's what. Brad and Angelina they're not.

Furry Vengeance
Pair a hyper Brendan Fraser and some vengeful animals and you get what you might expect: a terrible, cheap, unfunny kids movie that even kids hated. After actually paying for this movie, you might want revenge too.

Grown Ups
This offensive, sloppy comedy was the only time that Adam Sandler and all his comedian pals were on-screen together. With that in mind, you'd think there would be something actually funny to watch. Inexplicably, one of Sandler's biggest hits was one of his worst, which says a lot. Proves that all you have to do is grab a camera, some friends, act stupid and call it a movie.

Somewhere - B-

2010-12-30T21:40:00.012-06:00

Rated R for sexual content, nudity and language, 97 minutes

Pensive but engaging celebrity tale "Somewhere"

The real question may be "Where are you?" The answer doesn't necessarily lie in Sofia Coppola's pensive, low-key new drama "Somewhere," and while the independently-made, superbly acted tale about celebrity status isn't always the most approachable film, it further reveals that Coppola remains one of cinema's more unconventional filmmakers.

Hollywood actor Johnny Marco (Stephen Dorff), nested in the luxurious L.A. hotel Chateau Marmont, is a stimulated man. Drinking, parties and women keep a creeping boredom under wraps in between jobs. He is the occasional father of a bright girl, Cleo (Elle Fanning), who may be spoiled but doesn't act it. When Cleo unexpectedly shows up for an extended stay, Johnny brings her along for the ride, but he may be forced to make changes to his privileged lifestyle.

Coppola's alluring, glossy tale of celebrity, "Somewhere" treads familiar Coppola territory; however, the slow-moving character study shows that fame doesn't necessarily bring relationships of substance. Some scenes are supposedly semi-autobiographical and based on Coppola's own famous upbringing, but it all has a familiar pensive air to it from other Coppola films, particularly "Lost in Translation," which examined similar issues. Still, Coppola is an interesting director who uses her elements well, while dwelling on the silence of a lonely road or the trinkling water in a swimming pool.

Most important, Coppola uses her actors well in what is essentially a two-character play, and it helps that both Dorff and Fanning give subtle but charming performances that carry the film. The Hollywood lifestyle is portrayed realistically but not sympathetically; it seems to be a lonely road filled with people who want to be around you for your celebrity. There are also some tunes from the folk rock group Phoenix that are integrated well into the film.

"Somewhere" may be in a lonely, sad place, and the provocative ending may leave you wondering if the characters ended up in the place they wanted to be. Coppola, a director of remarkable strength and intelligence, keeps you guessing.

Casino Jack - C

2010-12-27T13:19:00.008-06:00

Rated R for pervasive language, some violence and brief nudity, 108 minutes

Smooth Spacey performance in uneven Abramoff film "Casino Jack"

There's no doubting that infamous Washington D.C. lobbyist Jack Abramoff was a colorful character, given that he was the center of a corruption scandal for which he just completed a prison sentence. Abramoff's dealings are detailed in the new dramedy "Casino Jack," a choppy, redundant film that's in need of a better editing job. What is certain is that Kevin Spacy gives another of his brilliantly self-assured performances as Abramoff, and he's the chief reason to see the film.

Abramoff's Washington D.C. lobbyist and secondary business career is the focus of the film, which included some gross excesses, mismanagement and corruption that brought him and many of his colleagues, including Michael Scanlon ("True Grit's" Barry Pepper) and his political connections, down. One of his main clients that he defrauded was the Saginaw Chippewas tribe of Michigan, from whom he took over $20 million to pay for his excesses. A federal investigation finds Abramoff guilty for taking bribes in exchange for political favors.

"Casino Jack" is a well-acted but uneven film that details a fascinating, colorful life with a bland annoyance and redundancy given that most probably already know the outcome of Abramoff's story. George Hicklenlooper, director of the Oscar-winning documentary "Hearts of Darkness," can't get a great handle on the material, and it lacks a certain emotional payoff that something like this should have.

Spacey's affecting turn as Abramoff is the most memorable about the choppy film, which is evident from his recent Golden Globe nomination for the film. The film's narrative jumps between different events (including Texas's own Tom DeLay) before it reaches a climax that most are aware of if they've read the news.

"Casino Jack" shouldn't be confused with the actual Abramoff documentary released earlier this year, "Casino Jack and the United States of Money," which is far more effective in detailing Abramoff's career than this film, which fictionalizes certain aspects of the story. Abramoff's less than stellar legacy could've been given a more interesting treatment than what "Casino Jack" gives it, though Spacey gives it his all.

Made in Dagenham - B

2010-12-27T13:15:00.028-06:00

Rated R for language and brief sexuality, 113 minutes

Likable, charming true story of "Made in Dagenham"

If you think you aren't paid enough at what you do, you should see the new British film "Made in Dagenham," a charming look at how some British ladies stood up and made a difference. It's predictable and unrevealing as a whole, but these ladies are so darn likable that you will be rooting for them the whole way.

It's the summer of 1968, and Rita O' Grady (Sally Hawkins) and her pals are enjoying the swinging '60s in Dagenham, England. They all work as sewing machinists for the Ford plant, sewing the material onto the car seats. But they are notified by their supervisor (Bob Hoskins) that have been categorized as unskilled workers and worst of all, are paid considerably less than their male counterparts. Rita stands up to the local Ford management for equal pay for the women, something that garners the attention of the British government and agressive Labor Department minister Barbara Castle (Miranda Richardson), who pledges to help the ladies.

"Made in Dagenham" is a pleasantly inspiring but bland look at how a few lower-class British dames changed history and made things better for women workers. If you know anything about the story, you already know how it turns out, but it's fun getting there. There are a few unnecessary episodes that give a padded, choppy feel at times, but it's still fun getting to the end. Hawkins is affecting as O'Grady, Hoskins is a sympathetic company man, and British character actress Richardson delivers one of her stronger, more memorable turns as the opinated Castle, who not only helped the ladies but also provided legislation later than led to the groundbreaking Equal Pay Act.

Director Nigel Fox, who helmed another true British ladies effort "Calendar Girls" a few years ago, handles the material well, though it likely would've benefited from a stronger, female director who didn't underestimate the power of the material. Good thing he has a strong true story and cast on his side to make the film better than it really should be, and it's also quite nice to see the actual (and now much older) ladies talk about their experiences over the film's credits at the end.

"Made in Dagenham" is an agreeable, if somewhat forgettable look at some graceful, plucky ladies who made a difference. You may not remember all of the movie, but you certainly won't forget the difference they made.

All Good Things - C

2010-12-27T13:15:00.019-06:00

Rated R for drug use, violence, language and some sexuality, 100 minutes

Well-acted, chilling but baffling “All Good Things”

“All Good Things” is a fascinating, well-acted but confusing thriller based-on-a-true crime story, which works in its favor but is also its biggest flaw. Based on the chillingly bizarre experiences of rich real estate investor Robert Durst, for some reason the story is given a fictional slant, an odd choice from the filmmakers given their stance in essentially implicating Durst of the crimes.

Ryan Gosling is David Marks, the son of wealthy New York City real estate investor Sanford Marks (Frank Langella). He meets the girl of his dreams, a pretty, smart blond named Katie McCarthy (Kirsten Dunst). When they get married, David leaves the family business as he and Katie buy a health food store named “All Good Things.” But David is lured back to the business, the two begin leading separate lives and Katie applies to medical school. However, David begins acting strangely and violently toward Katie and others, and Katie disappears. Through a strange series of events over the years, the now 20-year old case of Katie’s disappearance is re-opened.

“All Good Things” is an intriguingly murky, well-acted dramatic thriller whose real-life story seems to cast a pall on its effectiveness. It’s well-acted and “Capturing the Friedman’s” director Andrew Jarecki, directs “All Good Things” with an astute attention to detail, but it’s baffling as to why Jarecki and his screenwriters Marcus Hinchey and Marc Smerling didn’t just use Durst’s story outright instead of changing the names and a few minor details (even Durst himself - strangely enough - has approved the film).

Gosling and especially Dunst, in an understated, low-key role, are quite good as the couple with some problems, but the unrevealing, confusing script doesn’t provide insight into the notorious real-life case and explaining some of Durst's bizarre behavior, especially in the film’s last act. The title of the film, "All Good Things" itself is an odd choice; ironically it's the only thing about the actual Durst case not fictionalized in the film, the name of the health food store Durst and his wife had, but it's such a fleeting, minor part of the movie it seems an ill-fitting name. Sure, it’s supposed to be a metaphor for Durst’s life, though in reality it would apply to just one part of his life and not the case as a whole.

“All Good Things” ends up a vacuous, hazy tale of rich people acting badly, rather than intimately profiling an intriguing, somewhat appalling character as Durst, who as an adult was diagnosed with Asperger’s syndrome, which isn’t even mentioned here. The unresolved missing person case of Kathleen McCormack, Durst’s missing wife since 1982, deserves a more fulfilling, powerful examination than “All Good Things” gives it.

Gulliver's Travels - D-

2010-12-17T19:25:00.026-06:00

Rated PG for brief rude humor, mild language and action, 85 minutes

“Gulliver’s Travels”: How Jack Black ruined a classic story

“Gulliver’s Travels” is a big lump of coal of a movie this holiday season. A waste of talent, time, and big studio dollars, it’s a giant, painful and inexcusable embarrassment. A very, very loose contemporary remake of the Jonathan Swift classic (i.e. it has very little, if anything to do with that story), this is a trip full of the tired Black schtick he’s been getting away with in movies since “School of Rock.”

Black is Lemuel Gulliver, a mailroom employee of a large New York newspaper. He has a crush on the publication’s travel writer (Amanda Peet) so he pretends to be a travel writer himself. She gives himself an assignment to cover the Bermuda Triangle, only to become entangled in a big storm that catapults him to Lilliput, where he is a giant among many small people, including Horatio (Jason Segel), Princess Mary (Emily Blunt), her father the King of Lilliput (Billy Connolly) and the evil general (Chris O’Dowd). Gulliver becomes a huge hero among the little people who don’t know who he really is.

A lame 3-D attempt at updating the timeless Swift story, it's a huge mess and Swift would likely turn over in his grave if he knew what Hollywood did with the latest adaptation of his classic satire. “Gulliver’s Travels” is one of the worst films of 2010 and easily the worst film of Black’s career, which is saying a lot given some of the bad films he’s made of late, and only underscores what an annoying performer he can be. Much like his lower-brow counterpart Adam Sandler, he essentially plays the same slacker character in every film, a version of himself that ends up riffing some rock song by the end of the film.

It’s easy to pinpoint the failure of this awful “Gulliver’s Travels” on the likable Black given his star status, but then he’s in every frame of the film, he also co-produced the film and it seems to have been written with Black’s (lack of) talents in mind (we can only guess whose idea it was to have Black unzipping and pissing on a fire). To its credit, a few scenes are goofy fun and the first half of the film is mildly tolerable, but it falls apart midway through in a huge, bizarre way, with the cringe-worthy arrival of a “Transformers”-like character that throws the film way off course. It reminds of the utter failure of another film re-make, “Wild Wild West,” except on a much larger scale.

In the wake of this failure, Black takes down the director, Rob Letterman, who serviceably helmed the animated hits “Monsters and Aliens” and “Shark Tale” but seems to let Black run amok here among the many fake, tiny model sets, along with wasting an A-list cast including Peet, Blunt, Segel and Connolly. Nicholas Stoller, director and writer of the recent, sharp “Get Him to the Greek” and “Forgetting Sarah Marshall,” gets credit for the screenplay, but how much of his original script actually ended up on screen is debatable.

Detractors may say that this is all just silly fun geared toward kids, but even kids movies should be enjoyable. Inexplicably, the climax has Black and company singing the classic rock song “War” yet ironically the lyrics of that song could essentially describe this movie. What is “Gulliver’s Travels” good for? Absolutely nothing. A big, terrible misfire that isn’t worth the trip.

Little Fockers - D

2010-12-17T19:25:00.023-06:00

Rated PG-13 for mature sexual humor throughout, language and some drug content, 91 minutes

Don't bother with dreadfully unfunny sequel "Little Fockers"

Hollywood has a way of taking ideas and running them into the ground, and this has never been more annoyingly apparent with the dreadful new sequel "Little Fockers," the third (and by far worst) movie in the tired "Meet the Parents" franchise. There's not anything remotely funny about "Fockers," which throws out the same mean-spirited gags as the other films; if you've seen the trailers for the film, then you've seen the best parts of the film.

Greg Focker (Ben Stiller) and his wife Pam (Teri Polo) are now living in Chicago with twin children. Greg helps run one of the floors of the urban hospital he works at and while he seems successful, he has high hopes for his family. His in-laws, Jack (Robert DeNiro) and Dina Byrnes (Blythe Danner) come to visit and things get worse when Jack pushes Greg into taking more control of his family. Misunderstandings and other problems threathen to tear the once-happy family apart for good.

"Little Fockers" is an unnecessary sequel and a big waste: waste of time, talent and celluloid. Much of it falls remarkably flat this time out, given that the DeNiro-Stiller awkward in-law set up, was moderately funny the first time out, not so much since. Silly and contrived, this is a low-point for both talented actors and likely won't be included in any career retrospectives. This one was obviously done for money on both sides of the camera, with both actors giving seemingly disinterested performances.

It also wastes the other big-name talent attached to it, namely Owen Wilson (annoying as ever) and Oscar-winners Dustin Hoffman and Barbara Streisand, the latter two of whom make little more than cameos as Greg's unorthodox parents. Even the addition of Jessica Alba, Laura Dern and Harvey Keitel can't save this mess from crashing and burning early on. This time it just doesn't work: you'd think by now the DeNiro and Stiller characters would have things worked out given all they've been through. Also, whoever was the casting director on this thing should've been fired early on, the fact that the actors playing Greg's twins are obviously different ages makes it all the more unbelieveable.

"Little Fockers" is like a big family reunion where you're surrounded by people you don't like or don't know and you want it to end as soon as possible (and in case you wonder what you saw in them in the first place). Like any unpleasant experiences, you hopefully won't remember much of it, either. Put this awful and awfully forgettable film out of its misery and skip it all together.

Rabbit Hole - B

2010-12-17T19:21:00.004-06:00

Rated PG-13 for mature thematic material, some drug use and language, 91 minutes

Finely drawn drama about grieving, loss in “Rabbit Hole”

If someone close to you has died, you often need ways to channel your grief and deal with the loss. “Rabbit Hole” examines the impact that death, loss and grieving have upon a family and the different ways that people deal with it. This low-key drama based on a play is finely drawn, superbly acted and often painful to watch, but is great viewing for the acting alone, particularly Nicole Kidman. Not all of it works perfectly, but the director and actors make it worth seeing.

Upscale middle class couple Becca and Howie Corbett (Kidman and Aaron Eckhart) lose their child Danny when he is hit by a car. Months after his death they’re both struggling to deal with the loss in their own way. Becca chooses to remember him by developing a platonic relationship with the teenage driver who hit their son (Miles Teller) while Howie chooses a support group that Becca loathes. As Becca distances herself from Danny, Howie lives in the past by seeking refuge in outsiders. The Corbett’s find themselves adrift that will force them to make some choices about their future.

Slow-moving but understated with a nice, emotional pull, the compelling performances from leads Kidman and Eckhart highlight the film. The strong direction from John Cameron Mitchell also helps; Mitchell, director of such offbeat independent fare as “Hedwig and the Angry Inch” and “Shortbus” makes for an unlikely directorial choice for a drama like this but it’s a pleasant surprise.

David Lindsey-Abaire adapts his Pulitzer Award-winning play for the film and while much of it works well, the play loses a shade of its intimacy and complexity on screen, though the layered performances from Kidman and Eckhart make it work. They share some powerful moments together and Kidman is particularly effective as the grieving mom letting go of her son in her own way. There are some stellar supporting performances too, particularly Dianne Weist as Becca’s concerned mother and Tammy Blanchard as Becca’s unstable younger sister.

“Rabbit Hole” may have limited appeal but is worth a look for an excellent Kidman turn and a great drama about grief.

True Grit - B+

2010-12-17T19:10:00.004-06:00

Rated PG-13 for some intense sequences of western violence including disturbing images, 110 minutes

Affecting, understated “True Grit” the real deal

If you’re one of those who think it’s downright heresy to remake a John Wayne film should take a gander at the superb Coen Brothers remake of “True Grit,” which sticks closer to Charles Portis’ gritty novel and is in many ways better than the 1969 film that won Wayne an Oscar and created an iconic character that he’s best known for. This “True Grit” is a slow-moving, well-acted and tense Old Western drama that shoots and ends up a winner.

Mattie Ross (Hailee Steinfeld) is a determined 14-year old girl, out to avenge the cold-blooded murder of her father Frank Ross by low-level thief Tom Chaney (Josh Brolin), who’s been riding with a gang of bad guys led by “Lucky” Ned Pepper (Barry Pepper). Mattie manages to rustle up the cash to hire a crusty, alcoholic U.S. Marshall named Rooster Cogburn (Jeff Bridges) to track Chaney down. Along for the ride is Texas Ranger La Boeuf (Matt Damon) who has his own reasons for tracking down Chaney.

“True Grit” is more authentic Western than the original film from the Coen Brothers, who direct and write as if they’ve been making Westerns for years (“No Country For Old Men” was sort a contemporary Western, sort of). This version is less remake than just another version of the novel, which the film adapts more faithfully. As in the novel, the film is told mainly from the viewpoint of Mattie, the young girl and central protagonist. She hires Cogburn for his “true grit” though in fact she’s the one who possesses the character needed to pull off something like this.

Because of the change in focus, the highlight of “True Grit” isn’t the hammy performance from Bridges, who literally has big boots to fill (more on that later), but the determined, confident performance from young newcomer Steinfeld, who is the real heart of the film and miles ahead of the annoying Kim Darby in the 1969 film. She takes the film from veterans Bridges and Damon and stands her ground in one of the year’s breakthrough performances (the scene in which she smooth talks a businessman is one of the film’s highlights). Fortunately, Bridges, in another stellar but flashy performance, doesn’t impersonate Wayne and gives the character more levity than Wayne’s didn’t have. Damon is also good in a low-key part and who’ll make you easily forget Glen Campbell, playing well off of Bridges’ larger-than-life presence.

The film drags some in the later going and misses a few beats here and there (Brolin is misused in a tiny part, a couple of small, bizarre Coen touches don’t fit and the climax is a bit anti-climactic given the premise), but overall this “True Grit” works better than the original, though it’s still not as rough and violent as it could’ve been. The Coen’s certainly don’t channel Eastwood’s reverent, elegiac “Unforgiven” in tone, but they still deliver an affecting, understated dramatic film that seems more drama than Western but works due in large part to Steinfeld’s layered performance that’s sure to garner accolades and attention.

The entertaining “True Grit” is a few notches better than the original film and is worth seeing this holiday season.

The Fighter - A-

2010-12-17T18:33:00.008-06:00

Rated R for language throughout, drug content, some violence and sexuality, 115 minutes

Gritty, layered boxing drama "The Fighter" is a winner

The new gritty boxing drama "The Fighter" comes up a winner and is the most memorable real-life boxing story since the Oscar-winning "Raging Bull." Starring Mark Wahlberg and Christian Bale, the excellent performances, realistic fight scenes and stellar production elements lift it above what could've been another typical "Rocky"-like rags-to-riches story.

It's the mid-1980s in Lowell, Massachusetts, and boxer Micky Ward (Wahlberg) has been a moderately-successful boxer, trained by his older half-brother Dicky Eklund (Bale), a former boxer himself with drug problems, and managed by his bouffant-haired, loving mom Alice (Melissa Leo). After a series of setbacks causes him to quit the ring, the determined Micky attempts a comeback with new management and a new girlfirend (Amy Adams), which comes at a price both inside and outside the ring.

Realistic, believable and entertaining, "The Fighter" is a winner and a must-see for those who enjoy a "warts-and-all" drama and an uplifting, hard-knocks story. The believable, stellar turns from all in the cast lift the otherwise typical story into watchable entertainment. You'll most remember Bale's affecting, intense turn as the troubled, drug-addicted brother; his striking transformation (including the weight-loss) will change your perceptions of the British actor best-known for playing Batman.

Wahlberg continues to develop as an actor, and while his understated turn as Micky won't garner as much attention as Bale's showy turn, he's still the heart of the film, and you'll be cheering him every step of the way. Oscar-nominee Leo is also memorable as the controlling but loving big-haired mother, who only wants the best for her family, as is Adams, in a tough, different change of pace for the normally perky actress. Director David O. Russell ("Three Kings") is in fine, gritty Scorsese-like form, and his realistic recreation of the intense fight scenes should be lauded.

"The Fighter" was filmed on location in Lowell in some of the areas where the real Micky Ward (who along with Dicky is shown at the end) trained and lived, and it's filled with many great scenes inside and outside of the ring. "The Fighter" is one of the year's best films, and Micky and his story will stay with you long after you leave the theater.

The King's Speech - A

2010-12-17T18:00:00.007-06:00

Rated R for some language, 118 minutes

Without hesitation, "The King's Speech" is one of the year's best

"The King's Speech" sheds new light on the Royal Family, and it's an inspiring one. Based on the true story of how King George VI (the current Queen Elizabeth's father) and how he overcame a stammer to lead England with courage during World War II. It's one of the year's most poignant, enjoyably uplifting and well-acted films, and expect it to earn some well-deserved accolades this awards season.

King George V (Michael Gambon) has successfully led England for years, but he becomes aged and ill and unable to lead his country. His oldest son Edward (Guy Pearce) is expected to succeed him on the throne, but he abdicates it due to his affair with a divorced woman. His next son, George VI (Colin Firth), then takes the throne, but his stammer and shyness make him an unusual choice. With the prodding of his wife Elizabeth (Helena Bonham Carter), he goes to Lionel Logue (Geoffrey Rush), an Australian speech therapist known for his unorthodox methods, for assistance. With Logue's help, George is able to lead the country during World War II.

Vastly entertaining, superbly acted and crafted, "The King's Speech" is sublime, uplifting entertainment and one of the year's best films. The highlight of the film is Firth's amazing, touching performance as the royal who was known as Bertie and who received help from a regular man. Firth's transformation is credible, wholly believable and quite affecting; he's all but a shoo-in for this year's Best Actor Oscar, but his performance alone makes the film required viewing even for non-history buffs. Oscar-winner Rush is also quite good as Logue, who helped George overcome his stammer, and Carter, for once playing a normal human being, is poignant as the future Queen Mother.

The first-rate production ably recreates late 1930's England along with all the royal red tape that went along with being in this family. Gambon is a great, crusty old King George V, while "Harry Potter" alum Timothy Spall shines in a small but crucial part as Winston Churchill. Tom Hooper, who also successfully handled another historical figure in the miniseries "John Adams," directs David Seidler's with skill and keeps it from going the mauldin-illness-of-the-week route.

"The King's Speech" is an enjoyable, well-crafted and engaging film that comes highly recommended.

The Tempest - C+

2010-12-17T17:33:00.007-06:00

Rated PG-13 for some nudity, suggestive content and scary images, 110 minutes

Taymor's uneven version of "The Tempest" a mixed bag

Leave it to good 'ol Bill Shakespeare to cause controversy at the movie box-office. The latest adaptation of his play "The Tempest" will no doubt cause some waves due to some major changes with the characters, though those changes are in fact welcome ones. Directed and adapted by renowned Broadway and film director Julie Taymor (best known for Broadway's "The Lion King"), the is superbly acted by most of the cast, though it suffers from some awkwardly staged scenes and uneven pacing.

Prospera (Helen Mirren), the duchess of Milan, is usurped by her brother Antonio (Chris Cooper) and is cast off on a raft to die with her young daughter Miranda (Felicity Jones). They survive, finding themselves stranded on an island where the beast Caliban is the sole inhabitant. Prospera enslaves Caliban (Djimon Hounsou) and claims the island. After 12 years, Alonso, the king of Naples (David Straithairn), sails back to his kingdom from the marriage of his daughter to the prince of Tunisia, accompanied by his son Ferdinand (Reeve Carney) and Antonio. Prospera, apprehending her chance for revenge, causes a tempest, wrecking the ship and stranding those on board on her island.

Those familiar with Shakespeare's play "The Tempest" will notice the crucial casting change from the play of Prospero to Prospera, now a woman played with agility and intelligence by one of our greatest actresses, Mirren. Taymor has succeeded in adapting the play with a woman at the helm and keeps much of the power from Shakespeare's play. Though is its most provocative change it's a welcome one and one she handles well; unfortunately, Taymor overdirects much of the film, and its suffers from plodding pacing, a few badly staged scenes and a couple of miscasting cues.

Mirren, Jones, Hounsou along with Alfred Molina and Alan Cumming are the highlights from the large, all-star cast. Cooper is a great, Oscar-winning actor who's miscast as Antonio; Cooper's contemporary sensibilities don't fit in here and he sticks out like a sore thumb. Ditto for Russell Brand, who's an inspired choice but one that throws the film off considerably; he's a major distraction in a film that may have trouble keeping those of us outside the English Lit set engaged.

Good for Taymor (who needs some good news, she's at the helm of the new "Spider-Man" Broadway musical, which is proving to be disasterous) she has Mirren, who ably carries the film and sizzles whenever she's on screen and is the highlight of an otherwise pallid, boring effort. The sets and the costumes are first-rate and I appreciate Taymor's willingness to change things up a bit, just too bad it will have a rather limited appeal.

Yogi Bear - D

2010-12-17T17:02:00.008-06:00

Rated PG for some mild rude humor, 80 minutes

"Yogi Bear" - you're kidding, right?

Well, it's official. Another classic animated cartoon ruined by Hollywood CG, as if that comes as a big surprise regarding the unfortunate new children's movie "Yogi Bear." Dumber than the average children's movie, it recreates it with a mixture live-action and CGI ala "Scooby Doo" and "Alvin and the Chipmunks" not to mention an all-star cast that must have been paid a pretty penny for their take-the-money-and-run performances. "Yogi Bear" is to put it simply, just terrible, and painfully so. With no plot to speak of, there's simply nothing funny about flying picnic baskets.

Jellystone Park is celebrating its 100 anniversary, however it may be for the last time, because attendance is down and Mayor Brown (Andrew Daly) wants to close the park and sell the land. If the park is closed, Yogi Bear (voice of Dan Aykroyd) and Boo Boo (Justin Timberlake) will lose their home. They join forces with Ranger Smith (Tom Cavanaugh) and his girl Rachel (Anna Faris) to save Jellystone from closing forever. Yogi must really prove that he is "smarter than the average bear".

"Yogi Bear" will be remembered, but only for being one of the worst films of 2010. The film is just as bad as the trailers make it look, but that likely won't stop it from being a big hit at the box-office. The film is another bizarre mixture of CG and live-action (any reason no other animals or humans are CG?) with some outdated, painfully unfunny gags that even the littlest of ones could see through. Even more unfortunate is the fact that Aykroyd, one of the sharpest comedians to emerge from the original "Saturday Night Live," voices the big brown bear himself, and while he does a decent imitation, he is wasted with the lack of sharp gags and script.

The only thing of value is it is suitable, silly humor, even if it isn't a bit funny. It's good, clean fun on that level and will provide a good escape for parents who can drop off their kids and get some holiday shopping done, like buying them a copy of a real gem, "Toy Story 3." A forgettable waste of time and should end up on many (including mine) Top 10 Worst lists for this year.

How Do You Know - C+

2010-12-15T23:34:00.012-06:00

Rated PG-13 for sexual content and some strong language, 120 minutes

Sweet but talky, overlong "How Do You Know"

I'll let you in on a couple of things before you go to the new romantic comedy "How Do You Know." First, the sweet, leisurely film is too talky for its own good and goes on too long, but its heart in the right place. Second, of all the high-caliber cast in the film, you will enjoy Paul Rudd the most. Yes, you heard that right. Rudd has never been more charming in this very expensive rom com ($120 million, with nearly half of that attributed to salaries of the major players) that has a lot riding on it.

Reese Witherspoon is professional women's softball player Lisa Jorgensen, who finds herself cut from the team and forced to find a new life. She soon finds herself in a love triangle with a self-absorbed professional baseball player Manny (Owen Wilson), a player on and off the field, and George (Rudd), a schlub from the financial sector who finds himself in legal trouble with his business partner and father (Jack Nicholson).

"How Do You Know" is a warm but overlong, heartfelt rom com that's heavy on the dialogue, unsurprising given the writer and director is noted director James L. Brooks, who over the years has channeled relationships to Oscars ("Terms of Endearment,") to TV cultural icons ("The Simpsons"). "How Do You Know" isn't one of his stronger efforts, but then it isn't a terrible one, either; it's a pleasant but unrevealing piece of puffery with a high-powered, expensive cast and production.

If "How Do You Know" is a failure (which, given its $120 million price tag, is a strong possibility), the one most to lose will unfortunately be the likable Witherspoon, very pretty here but then it's not a strong women's role, again a surprise from the guy who got an Oscar for keeping peace between Shirley MacLaine and Debra Winger. Brooks' uneven script is one of his most flawed; it spends too much time on the Witherspoon-Wilson relationship (who display little chemistry here) and then Witherspoon's character goes on and on trying to make a decision the audience knows she'll make anyway by the end.

Thankfully, the other guy here is charming comic actor Rudd, who's the heart of the film and by far the film's most sympathetic character. Rudd's comic reactions and timings are perfect, and he continues to reveal a versatility that comprable actors would desire (namely Wilson, in another one-note variation of most of the roles he plays). Jack is, well, Jack; fortunately, nearly all of his scenes are with Rudd, and their warmth is the film's most palpable highlight. Nicholson, who's worked with Brooks several times before, also scores the film's biggest laugh (no explanation needed, you will know when that is).

"How Do You Know" is a pleasantly sweet, enjoyable, if not chatty, film. People talk on and on about doing things instead of just doing it and going with the flow. Brooks and company have their heart in the right place, but it tends to stay there too long deciding what to do. Let's hope audiences (and lots of them given its cost) will stay with it too.

Tron Legacy: C+

2010-12-15T09:05:00.006-06:00

Rated PG for sequences of sci-fi action violence and brief mild language, 127 minutes

Muddled story aside, “Tron: Legacy” is a visual feast

Upfront, I’ll say that the new action-film sequel “Tron: Legacy” is visually stunning, captivating and at times mesmerizing, and is a shoo-in for many technical awards at this year’s Oscars. On the flip side, everything in between is a mixed bag. The muddled, emotionless story and bland acting come in striking contrast to the captivating visuals, which should make this sci-fi film a big hit. The original “Tron” was a flawed film with too little story and memorable special effects; the sequel is a better but still-flawed film, with memorable special-effects and too much story.

For twenty years, Sam Flynn (Garrett Hedlund) has been haunted by the mysterious disappearance of his father Kevin (Jeff Bridges), an innovative software programmer and former CEO of ENCOM International. One night, an executive consultant for ENCOM and friend of Kevin, Alan Bradley (Bruce Boxleitner), sends Sam to investigate a mysterious page originating from the long abandoned Flynn's Arcade.

While searching for clues, Sam is suddenly transported to the digital world of The Grid. Aided by the digital warrior Quorra (Olivia Wilde) and Tron (Bruce Boxleitner), Sam is reunited with his father and together set out on a journey to return home. Encountering vehicles, weapons, and landscapes that have become far more advanced than before, father and son must evade CLU 2, an updated version of Flynn's original hacking program (and really a younger version of Bridges), which will stop at nothing to prevent their escape.

“Tron: Legacy” is an entertaining sci-fi action film highlighted by some of the year’s most exciting, colorful special-effects. The memorable (and expensive) visuals are the main reason to see the film, you won’t remember much of the slow, baffling story and bland acting. Disney has gone to great lengths to ensure audiences will be entertained and they’ve succeeded; the film should be a big hit though it doesn’t advance the sci-fi genre much.

The cast is headlined by a hammy Jeff Bridges, who returns from the original film, and who plays both the protagonist and antagonist; his older hippy version is the heart of the film (and The Dude comes out a few times, watch closely) while his younger, leaner CG version is the villain. Hedlund is the blandest of the young actors and literally disappears under all the visuals while Wilde, the loveliest of the new wave of British actresses, is somewhat wasted as a young pretty program. Michael Sheen nearly walks off with the movie midway through in campy David Bowie/Ziggy Stardust-like form (at first you really think it may actually be Bowie himself); it’s also nice seeing Boxleitner, though he isn’t given much to do (and hardly recognizable in the digital world).

Without the striking, first-rate visuals, which energize the film, “Tron: Legacy” wouldn’t amount to much. The 1982 original film was somewhat of a cheesy bore; this one is more fun to watch but the story, written by a couple of “Lost” writers, Adam Horowitz and Edward Kitsis, is baffling, peppered with overly symbolic Biblical references (“he’s the son” and “go toward the light”) and assumes audiences will remember the original film (they won’t). Video and commercial director Joseph Kosinski helms the visuals well but he lets everything else go on too long.

“Tron: Legacy” could’ve benefited from a leaner, more efficient story and better acting, which may not mean much given all the exciting visuals; it improves upon the original film but only to show the advances that Hollywood has made with computers and special-effects. Enjoyable but forgettable Disney entertainment.

I Love You Phillip Morris - C

2010-12-10T00:04:00.010-06:00

Rated R for sexual content including strong dialogue, and language, 102 minutes

You won't love the odd comedy "I Love You Phillip Morris"

The new comedy "I Love You Phillip Morris" is one of the most unusual films seen in recent memory. Not the fact that two mainstream straight actors, Jim Carrey and Ewan McGregor, are playing gay men but the fact that the often bizarre low-budget farce is a true story, based on the exploits of real-life con artist and prison escapee Steven Russell, who's still serving time in Texas as this is written. Carrey's performance is the best thing about the odd, uneven movie.

The story begins with Russell (Jim Carrey), apparently on his deathbed, recalling the events of his life. He begins with his early adult years in Virginia Beach as a happily married police officer. He plays the organ at church, has enthusiastic sex with his wife (Leslie Mann), is a doting father, and spends his off hours searching for his biological mother, who gave him up as a child.

After a violent car crash, Russell leaves previous life behind, and goes out into the world as his true self, which is as a gay man that he has secretly lived for years. He moves to Miami, finds a boyfriend (Rodrigo Santoro) and begins living a very expensive lifestyle. The need for money causes him to turn to a life as a conman. When his con work finally starts to catch up with him, Russell is sent to prison, where he sees and immediately falls in love with Phillip Morris (Ewan McGregor). From there on, it becomes the story of a forlorn lover who cannot bear to be separated from his soul-mate and will go to any lengths to be with Phillip.

"I Love You Phillip Morris" is an uneven, odd dramedy about Russell's exploits that's far more interesting on paper than played out here. It's had distribution problems and has been sitting on the shelf the last two years and was re-edited during that to make it more mainstream. Unfortunately, the newly re-edited film has lost a certain edge in the process and falters between dark, dark comedy and over-the-top farce with a little drama thrown in for good measure, with so much thrown at the screen to see what sticks.

The film's dark tone is unsurprising given that it's directed and written by the team of Glenn Ficarra and John Requa, responsible for a much better dark comedy, "Bad Santa." The highlight of the film is a great Carrey performance, who unsurprisingly carries the film on his back with his stellar comic timing and presence, though it's really nothing different than he's done before.

As good as Carrey makes the film, it makes you wonder how differently the film would've been shaded with a less comic actor and a more dramatic one. Carrey's schtick overtakes the film (as for poor Ewan McGregor, he's wasted in a much smaller part than Carrey's) and what could've been an inspired film turns into another Carrey comedy. Leslie Mann ("Knocked Up") has a few good moments as Russell's confused but loving ex-wife.

Surprisingly, "I Love You Phillip Morris" isn't as shocking or as graphic as it could've been, and it falters in delivering an emotional connection. "I Love You Phillip Morris," given the comic presence of Carrey and an intriguing real-life story, is unfortunately just a big disappointment.

The Tourist - C+

2010-12-09T23:31:00.006-06:00

Rated PG-13 for violence and brief strong language, 105 minutes

Glitzy but forgettable "Tourist"

You remember those T-shirts that used to say "I went to __________ and all I got was this lousy T-shirt."? The new movie "The Tourist" is kinda like that. It takes you to a far off land, weaves a complex story and then leaves you empty-handed. Slick, pretty but uneven and a little slow at times, some of it works, some of it doesn't and the twist at the end is a tad baffling. What's for sure, "The Tourist" has some great scenery, particularly two handsome, huge movie stars in Angelina Jolie and Johnny Depp, both of whom play it smart and low-key.

Depp is an American tourist in Italy named Frank trying to get over a lost love. He runs into Jolie, a lovely British woman named Elise who is in Venice searching for a former but mysterious love named Alexander Pearce, who stole some money from some very bad guys and is now on the run. He's being pursued all the while by an agent (Paul Bettany) for Scotland Yard who has connections to them both.

Uneven but glitzy, muddled but somehow crowd-pleasing, "The Tourist" is a weak effort given the talent involved, Jolie, Depp and director Florian Henckel von Donnersmarck, director of the Oscar-winning German film "The Lives of Others." The film wavers too much between thriller and dark comedy but comes up rather empty-handed on both, and given the twist at the end, much of it's unnecessary and contrived.

Jolie and Depp play it well in roles they've played much better in other movies, especially Jolie, who did this thing much better in "Wanted" and earlier this year in "Salt." She's slowly becoming typecast playing women like this, and "The Tourist" reveals her self-effacing traits too much; her English accent wavers in and out too much. Depp is a little better in a woefully underwritten, unrevealing role that's one of his weakest. Bettany is solid, as is Steven Berkoff as the slimy villain; cinemaphiles will enjoy the fact that Berkoff played the equally slimy Victor Maitland in the first "Beverly Hills Cop" 27 years ago.

The silly, contrived script is especially a disappointment considering it was worked on my von Donnersmarck and Oscar-winning screenwriters Julian Fellowes ("Gosford Park") and Christopher McQuarrie ("The Usual Suspects"). The "Usual Suspects"-type twist at the end is especially disappointing and out-of-place with the rest of the film. Venice is beautifully filmed as are Depp and Jolie, but the movie comes up short in delivering a strong story and sympathetic characters you really care about. You'll pay $10 for a forgettable movie like "The Tourist" and all you'll end up with is a silly ending and greasy popcorn hands.

The Warrior's Way - D

2010-12-03T21:55:00.007-06:00

Rated R for strong bloody violence, 100 minutes

Ridiculous, silly "Warrior's Way"

Within the first few minutes of the new kung-fu action "The Warrior's Way" the 'greatest swordsmen ever' is brought down, a baby is rescued, ninjas are killed in a bamboo forest and the main character ends up in an Old West town. This has the makings for a cool movie or quite possibly a disaster and one of the worst things seen on screens this year. A few nifty special-effects and fight scenes aren't near enough to make this the most ridiculous, worst-acted film of the year.

Yang (Korean film star Jang Dong-gun) is a warrior with a mission: to kill the last living member of an enemy clan. The only thing is, the last living member is a cute baby girl who Yang cannot kill, so he leaves his country to go to the American West, where a friend of his supposedly living. His friend is no longer there, but in the town he finds talky black small person (Tony Cox), the town drunk (Geoffrey Rush) and a young girl (Kate Bosworth) who Yang becomes attracted to and helps exact revenge on the man (Danny Huston) who killed her family years earlier.

"The Warrior's Way" is preposterously bad action-adventure flick that tries (very badly) to combine a Sergio Leone spaghetti-western with Korean kung-fu. Much like combining Italian food with Korean food, this is an absolute mess. It takes itself far too seriously to work even moderately well, and while the fight scenes and a few special-effects are decent, everything else about it is just plain terrible, from the acting, the story, to the fake sets, all of which make it look like a cheap soundstage. It all comes together in a way-over-the-top, stupid finale that makes little sense for even something like this.

Korean film director and screenwriter Sngmoo Lee and Korean action-star Jang Dong-gun are largely responsible for this mess, which was shot in early 2008 but has been sitting on the shelf for nearly 3 years. It certainly won't help the careers of anyone else involved, including Rush (whose awful, unnecessary narration is heard throughout the film), the once-it girl Bosworth in what could likely be a career-killer; her performance is the film's worst - even Dong-gun has the wisdom to keep his mouth shut most of the time - to Huston, who chews on scenery in his brief role as the slimeball villain.

This disaster is credited with being co-produced by one of "The Lord of the Rings" producers, Barrie M. Osborne, but he may not want much to do with "The Warrior's Way" after most people see how bad it is. This could be one of those "so-bad-it's good" cult-classics in years to come, but for now I'd take the high road away from "The Warrior's Way."

The Chronicles of Narnia: The Voyage of the Dawn Treader - B

2010-12-01T20:28:00.011-06:00

Rated PG for some frightening images and sequences of fantasy action, 105 minutes

Affecting and action-packed "Voyage of the Dawn Treader"

"The Chronicles of Narnia" gets a boost with the latest in the series based on the C.S. Lewis novels of the same name. "The Voyage of the Dawn Treader" is thrilling, action-packed and quite affecting in the last act (i.e. bring plenty of tissues), and may remind some as a "Lord of the Rings" for the junior set. Though suitable for the whole family, some of it is a little intense for very young children and while many prefer the first film, I think overall this is the best of the series so far.

Lucy (Georgie Henley) and Edmund Pevensie (Skandar Keynes) return to Narnia with their cousin Eustace (Will Poulter) where they meet up with Prince Caspian (Ben Barnes) for a trip across the sea aboard the royal ship The Dawn Treader. Along the way they encounter dragons, dwarves, merfolk, and a band of lost warriors before reaching the edge of the world.

Magical, colorful and energetic, "The Voyage of the Dawn Treader" makes for exciting entertainment, even if it starts treading "The Lord of the Rings" territory, particularly with its breathless, dragon-filled climax. It is a faithful adaptation of Lewis' novel (technically the fifth written but the third released), is the most poignant and best-acted of the lot by the three young children, who are growing up quickly. The new addition, U.K. actor Poulter as cousin Eustace, is the most memorable; his transformation from unlikable brat to hero will have you cheering the most.

Listen closely for the voices of character actor Simon Pegg ("Star Trek") as the heroic mouse Reepicheep and stalwart Liam Neeson as the head lion Aslan. "Voyage of the Dawn Treader" has the most emotional ending of the three, as the two younger children bid farewell to Narnia, so be sure to keep plenty of tissues on hand. Suitable for the whole family, but I'd be careful with anyone younger than 10 or so, as some of the creatures are a tad frightening.

"The Voyage of the Dawn Treader" is enjoyable, action-packed fun and a good night for the family for the holidays, and sometimes that's a good deal.

Black Swan - A

2010-12-01T20:17:00.013-06:00

Rated R for strong sexual content, disturbing violent images, language and some drug use, 107 minutes

This is a brilliantly dark, twisted "Black Swan"

You will either love it or hate it. “Black Swan” is one of those divisive films. A disturbing, twisted very dark psychological thriller from “The Wrestler’s” Darren Aronofsky, Natalie Portman gives one of the year’s most sublimely intense performances that’s sure to be Oscar-nominated. Complex but mesmerizing, you won’t understand it all but you certainly won’t be able to look away.

“Black Swan” is about a New York City ballet company producing a version of “Swan Lake.” The company’s director (Vincent Cassel) replaces his long-standing prima donna ballerina (Winona Ryder) with a new, talented ballerina named Nina (Portman). Nina has issues of her own, living with an overbearing, controlling mother (Barbara Hershey), a former ballerina herself. Nina has the skill and grace to perfectly play the White Swan, but lacks the passion to play the sensual Black Swan, something a rival ballerina named Lilly (Mila Kunis) possesses. Nina begins exploring her dark side, something that could help her performance or destroy her personally.

Aronofsky’s “Black Swan” is one of the year’s most provocative, complex and entertaining films. Disturbing, intense and supremely dark “Black Swan” is a must see for Portman’s layered, powerful performance. Aronofksy’s moody script and direction, originally conceived as a companion piece to his 2008 film “The Wrestler,” is bizarre and downright strange at times, but much of it works brilliantly. The mesmerizing on-stage finale is brilliantly staged and executed by Aronofsky and highlights the film.

It’s also universally, superbly acted by the entire cast, with solid turns by Cassel, Kunis and in a brief but fiesty, serious turn, Ryder as a washed-up ballerina. Especially memorable is Hershey as Portman’s overbearing but loving mother, who has issues of her own. Hershey’s strong, searing deliverance should bring the veteran character actress another Oscar nomination for supporting actress.

“Black Swan,” however, gives Portman center stage and she delivers an amazing, complex performance as the uptight ballerina that will propel her to accolades and more A-list roles; she embodies the role of a ballerina to near-perfection, her intense ballet training for the film is evident with every turn. The movie’s most provocative scene has her in a lesbian drug-fueled dream sequence with Kunis that should please those that enjoy that type of thing. Aronofsky also peppers the film with some twisty, nifty special effects that help give life to some of Nina’s mental issues (paintings and tattoos come to life, along with different versions of herself).

“Black Swan” is a disturbing psychological drama that is a must-see, but also know the downbeat, heavy film isn’t necessarily for everyone (and you will not leave this movie happy). Textured, dark and serious, you won't understand it all, but in a bizarre, twisted way, "Black Swan" is one of the year's best films.

Inside Job - B+

2010-11-27T18:23:00.007-06:00

Rated PG-13 for some drug and sex-related material, 105 minutes

"Inside Job" is a compelling, timely expose

You will leave the new documentary "Inside Job" angry, and rightfully so. An expose that details the global financial meltdown of 2008, this tells how how your investments, retirement funds and tax dollars were lossed and spent but it could've been avoided. More entertaining than you might think, documentarian Charles Ferguson ("No End In Sight") manages to make a dry topic engaging, gripping and wholly compelling.

"Inside Job" is the first film to provide a comprehensive analysis of the global financial crisis of 2008, which at a cost over $20 trillion, caused millions of people to lose their jobs and homes in the worst recession since the Great Depression, and nearly resulted in a global financial collapse. Through exhaustive research and extensive interviews with key financial insiders, politicians, journalists, and academics, the film traces the rise of a rogue industry which has corrupted politics, regulation, and academia.

"Inside Job" is a fascinating, thought-provoking and pertinent look at the financial crisis that still affects many as we speak. "Inside Job" covers much of the same ground that Michael Moore did with his 2009 documentary "Capitalism," but with much more exhaustive detail. Ferguson breaks his film into several chapters to analyze what went wrong, how it happened and what has happened since, and you won't like what you see. The fat cats who caused and allowed the crisis to occur still have their fortunes and aren't behind bars, as many feel they should be.

Not only is it interesting to see the many financial insiders Ferguson interviewed, but the many, many who refused to be interviewed for the film (if you were involved, would you?). It implicates the big financial instituitions for allowing the bad loans, ignoring the warnings that came from many experts and then running to the U.S. government for help, which itself is filled with former financial big wigs in cabinet or consulting roles. "Inside Job" is truly frightening (but unsurprising) as it details the corruptive influence of the financial companies within the government and educational institutions, and how a new U.S. Presidential administration didn't change things much.

The crisis continues to have a ripple effect (especially if you've paid attention to what has happened in Ireland and Iceland lately) even today, and some believe it may happen again. "Inside Job" pulls no surprises and is a little redundant and preachy down the stretch (thanks to Matt Damon's narration, used effectively here); ironically the millions affected by the crisis may not get to see the film because they don't have the money to shell out to see it. Still, it's a must see, powerful film that helps break down what happened, not to mention the many confusing terms you hear in the media.

As one Chinese official says in the film, why pay "financial engineers" so much for building a dream when actual engineers are paid little by comparison for actually building bridges and roads. Those financial engineers changed so many lives, but not for the good, and we're still paying for it. See this film and do something about it.

Love and Other Drugs - C

2010-11-24T20:53:00.007-06:00

Rated R for strong sexual content, nudity, pervasive language, and some drug material, 113 minutes

Raunchy "Love and Other Drugs" falls short

By all accounts, I went into the new romantic dramedy "Love and Other Drugs" thinking I would love it. It has two lovely actors, Anne Hathaway and "what's his name" Jake Gyllenhaal and a solid director in Edward Zwick ("Defiance," "Blood Diamond"), but for some reason this raunchy film left me feeling a little empty. Sure, Zwick stages some steamy scenes with a naked Hathaway and Gyllenhaal, but does a handful of sex scenes necessarily add up to a great movie? Down beneath all the sex, there's not much there, and the weak story fails to deliver a strong emotional core.

Based loosely on Jamie Reidy's best selling non-fiction book "Hard Sell: The Evolution of a Viagra Salesman" and it's set in the late 1990's. Gyllenhaal is Jamie Randall, a college grad struggling to find his way. He goes to work for pharmaceutical company Pfizer and does his best to eck out a living. Strong and handsome with chisled looks, he's never had a problem with women, until he meets free spirit Maggie (Hathaway), an artist struggling with some physical and emotional problems. They hook up, have hot sex, and engage in a "friends with benefits" type relationship until they begin falling for each other. Jamie realizes that Maggie is only using her problems as a shield to get in and out of relationships, but he must convey his true love for her.

Zwick and company deliver what has plagued many romantic comedies of late: a mediocre slipshod comedy with a few funny lines and moments. There are many mixed messages there - love in sickness and health - that are never really explored fully (and in one appalling scene a man whose wife has Parkinson's tells Gyllenhaal's character to promptly dump his woman and move quickly on because illness can destroy a relationship).

The uber-handsome Gyllenhall and the always warm, charming Hathaway (who bares just about everything here) perform well given the vacuous story, and while they're certainly eye candy, even their sex scenes have a cold, disconnected and very rehearsed feeling to them, lacking a certain hot vibe to make it genuinely steamy. And while the ending is heartwarming, you sorta know that these two would end up anyway ( see for yourself).

The rest of the cast is misused or underused. "21's" Josh Rad, way overused and largely unfunny; blink and you'll miss the cameos from George Segal and the recently deceased Jill Clayburgh as Randall's parents. Fine comic actress Judy Greer, hardly there. Handsome actor Gabriel Macht, not used enough. Pretty much explains the movie itself. It's certainly seeking a younger, edgier vibe with all the sex scenes, but as we know, good sex doesn't hurt, but it doesn't solidify a good relationship, or a good movie for that matter.

Given that a large part of "Love and Other Drugs" is about Viagra, the script could've risen to the occasion and toned down the sex and toned down the sex scenes and have these unsympathetic, cardboard characters work through issues we actually care about. But that would've been boring given the old addage that sex sells; in this case it sells the movie, just not a good movie.

Burlesque - C+

2010-11-24T13:46:00.008-06:00

Rated PG-13 for sexual content including several suggestive dance routines, partial nudity, language and some thematic material, 105 minutes

“Burlesque” is campy, ridiculous fun

Veteran singer Cher still has it. Pop singer Christina Aguilera’s voice is stunningly powerful. They’re the main reason to see the predictably campy rags-to-riches musical “Burlesque,” which teams the two unlikely performers together. It seems evident that a creaky, old-fashioned story has been fashioned around Cher and Christina; both charmingly strut through the movie in video-music form and own the film, even when the weak script can’t keep up with them.

The premise for “Burlesque” is quite simple. Aguilera is a talented small-town girl named Ali with big dreams and even bigger voice. She comes to Hollywood on the first bus out and finds it difficult to break out. She eventually finds a job in an old-fashioned club called Burlesque owned by Tess (Cher) built around some sexy dancers, including Nikki (Kristen Bell) and Georgia (Julianne Hough). A rich businessman (Eric Dane) wants to buy up the place, but Tess feels it still has some life in it, particularly when Ali finds her way in the show and turns the place on its heels.

“Burlesque” is a cheesy, hokey nod to all those old-fashioned musicals of yesteryear, where the movie’s dated story clearly belongs. The energetic music and the dancing are, unsurprisingly, the best part of the film; everything else in between is largely forgettable. Cher and Christina make for a good time; in her film debut, Aguilera shows she has a stunning voice and is a sexy, electric performer. However, her acting skills need a little work, even if her energy and bland charm help carry the film. Cher looks fabulous as usual and is always good for a quip or two though some scenes she resembles a caricature of herself in drag queen form, but she’s still a a great deal of fun.

Of the large cast, only a couple makes a memorable impression. Kristen Bell (“Veronica Mars”) proves to be a decent singer and dancer, while the presence of Stanley Tucci, while fun, is only necessary for the benefit for Cher having a sidekick. Eric Dane along with Peter Gallagher, Cam Gigandet and Alan Cumming have little screen-time, or in Gigandet’s case, a powerful on-screen presence (Gigandet, of “Twilight” fame, is one of today’s blandest actors).

It’s also unsurprising that “Burlesque” seems like an extended music video with about as much depth; video music director Steve Antin’s unoriginal direction doesn’t add much emotional connection, though the film is directed in clear crowd-pleasing form. It’s unfortunate that Oscar-winner Diablo Cody (“Juno”) is credited with the weak script, though substantial revisions were likely made later on.

The songs, the dancing are bouncy, fun and will have your feet tapping by the “Burlesque’s” calculated ending. Cher and Christina are in full control the film, but you’ll hard-pressed to remember any of the story after you leave the theater.

Faster - C+

2010-11-23T12:19:00.005-06:00

Rated R for strong violence, some drug use and language, 95 minutes

Silly preposterous "Faster" is escapist, junky enterainment

The Oscar goes to…The Rock for “Faster”! You probably won’t hear those words this year, but the forgettable “Faster” is decent entertainment if you take it for what it’s worth: guilty-pleasure, junky entertainment and bloody fun taken in the right way. Some of it works, much of it doesn’t as it channels The Rock’s serious, darker side, but the preposterous “Faster” is a revenge flick that’s escapist entertainment at its best.

After 10 years in prison, Driver (Dwayne Johnson) has a singular focus—to avenge the murder of his brother during the botched ban robbery that led to his imprisonment. Now a free man with a deadly to-do list in hand, he's finally on his mission...but with two men on his trail—a veteran cop (Billy Bob Thornton) just days from retirement, and a young egocentric hitman (Oliver Jackson-Cohen) with a flair for the art of killing and a newfound worthy opponent. The hunter is also the hunted. It's a do or die race to the finish as the mystery surrounding his brother's murder deepens, and new details emerge along the way hinting that Driver's list may be incomplete.

Taken as a serious film, “Faster” is a contrived, over-the-top mess. As low-brow junky entertainment it works far better if you don’t take it too seriously. Johnson is a better comic actor than a serious one, which is partly why “Faster” doesn’t work in addition to the rather uninspired direction from George Tillman Jr. (“Soulfood”).

Johnson lacks a range of emotion needed to carry this revenge movie off, especially paired against Thornton, playing his typically slimeball characters with great amusement as he chews on scenery. The final twist seemingly comes out of nowhere, but if you play close attention you’ll realize early on the connection that Thornton’s character has with Johnson’s. The car Johnson's car drives, a souped-up 1960s Chevy Chevelle, is by far the coolest thing about the movie.

“Faster” works best when it’s focused on Johnson’s singular mission to bring down everyone that had to do with the murder of his brother, after all this is a revenge flick. It’s when it incorporates the side story of the young rich hitman that it becomes too uneven, especially since you have to wait until the film’s final frames to find out truly why this guy is after Johnson too.

Bloody, silly, and utterly contrived, there are some good moments of violence and mayhem that will please audience looking for those things. “Faster,” much like its name, is quick and efficient, though it leaves a handful of things from its muddled story unanswered, making you wonder if he really got everyone on his list. If you need a quick escape from the turkey festivities this weekend, put “Faster” at the top of your list to see, though your food will be more memorable and flavorful than this.

Tangled - B

2010-11-19T12:03:00.008-06:00

Rated PG for brief mild violence, 92 minutes

"Tangled" is a smooth, witty, fun animated musical

Disney does it again. It's created a lively, colorful and charming new animated musical in "Tangled," a fun re-telling of the Rapunzel fairy tale. It comes as a surprise but a pleasant one, given that most of Disney's best work these days is done by Pixar. The fluid animation helps to advance the genre some even if the story seems a tad unoriginal, but this heartwarming tale will leave you with both a smile and a tear in your eye.

A baby princess named Rapunzel (Mandy Moore) is born to the King and Queen and her hair has magical powers. However, an evil witch named Gothel (Donna Murphy) steals Rapunzel from the palace in revenge for the royal family taking a magical plant responsible for saving the baby princess and her mother. Gothel keeps Rapunzel for herself for years locked away in a high tower as Rapunzel's hair keeps Gothel young. However, one day a thief named Flynn Rider (Zachary Levi) with the stolen royal crown in tow and a bevy of bad guys after him comes to her house, changing everything for Rapunzel, who's destiny hangs in the balance with Flynn's crown, which rightfully belongs to Rapunzel.

"Rapunzel" is a playful, often hilarious and entertaining fairy tale that casts its own spin on the Rapunzel story. The basic themes are in place, but those familiar with the tale will notice the significant changes, noticeably adding a love interest for Rapunzel with Flynn, and the addition of the fun songs. Most of it works well, though the story seems a little "Beauty and the Beast"-ish, which isn't surprising given the music, most of it emotional ballads, comes from Alan Menken, the guy who helped restore Disney back in the late '80s and early '90s with "The Little Mermaid," "Aladdin," and of course, "Beauty and the Beast."

The cast does well, particularly Tony award-winning character actress Donna Murphy, who nearly walks off with the movie as the evil mother. She's a hoot and she has a glorious, rich voice that lift the story and music to a better place. Levi and Moore are decent but bland, and upstaged at every turn not just by Murphy but by Rapunzel's pet frog Pascal and royal horse named Maximus who acts like a dog and has a love-hate relationship with Flynn.

"Tangled" best, most touching moments come near the end with a host of different "lantern lights" fill the screen quite beautifully. "Tangled" should be a hit, but Disney may have trouble marketing it to anyone other than pre-teen girls, but really everyone will have a good time. "Tangled" is Disney's best non-Pixar film in years and is miles ahead of last year's disappointing "The Princess and the Frog." Definitely worth checking out.

The Next Three Days - C

2010-11-17T07:14:00.007-06:00

Rated PG-13 for violence, drug material, language, some sexuality and thematic elements, 122 minutes

Looking for nonstop action? Not in the uneven “Next Three Days”

You’d think that with Oscar-winning actor Russell Crowe and Oscar-winning “Crash” writer Paul Haggis along with a slick marketing campaign, that the new thriller “The Next Three Days” would be a sure-fire action-adventure hit. Well, at least partly so. This uneven, implausible and by-the-numbers movie is mostly heavy-handed melodrama with a sprinkle of action on top, with the action-adventure not figuring in until very late into the film; with that said it will be a disappointment for those expecting nonstop action from start to finish.

Crowe is John Brennan, a Pittsburgh community college English teacher whose wife Lara (Elizabeth Banks) is accused and later convicted of a murder of one her professional colleagues. Becoming frustrated with the legal appeal system and convinced of her innocence, John devises a plan to break her free, in spite of the fact he lacks the skills to execute a flawless plan.

“The Next Three Days” is more bleak, downbeat drama than rousing action-adventure, requiring the audience to sit through the depressing story for the film’s best sequence, when Crowe’s character finally goes through with his plan. A remake of a 2007 French Film “Pour Elle,” “The Next Three Days” is most troubling in buying into these uneven characters; it spends far much too much time in its initial chapters detailing what a normal schlub Crowe’s character is and his lack of skill and knowledge. Sure, it’s a departure for the “Gladiator” actor, but it misses a beat or two in showing a credible transformation he makes to smoothly execute such a plan in a seemingly short amount of time, stretching the story’s believability.

“The Next Three Days” is also flawed by Haggis creaky, heavy-handed direction and adaptation; he spends little time developing Banks’ character, and her inexplicable, baffling actions in the final act hurt the film (doesn’t help that Banks is also miscast here). The film also considerably underuses some terrific character actors, especially Brian Dennehy as John’s elderly father, who remains dialogue-free until late in the film, and lovely British actress Olivia Wilde, stuck in a one-note role as the parent of a child he befriends, who should’ve traded roles with Banks (look for Wilde in the upcoming “Tron” sequel). Oh, and blink and you’ll miss Liam Neeson’s very brief cameo as an expert in the field of…breaking out of jail.

The film’s best sequence is its final one, an extended cat-and-mouse chase scene through the streets of Pittsburgh, when Crowe and Banks (and the movie itself) finally hit the ground running. Until then, there’s very little energy in the otherwise downbeat drama with an unnecessary epilogue that attempts to put a pat ending for what the audience likely knows anyway. An open-ended ending leaving the audience to decide for themselves would’ve been more effective.

“The Next Three Days” isn’t a terrible film by any means. Just an uneven, drab one with a bait-and-switch marketing campaign that wants you to believe it’s a breathless, nonstop action film (far from it). And given the A-list cast and story, it could’ve worked far, far better. One of the fall movie season’s first big disappointments.

"Harry Potter and the Deathly Hallows - Part 1" - B

2010-11-17T06:49:00.027-06:00

Rated PG-13 for some sequences of intense action violence, frightening images and brief sensuality. 146 minutes

This "Potter" is a leisurely, dark but entertaining journey

“Harry Potter and the Deathly Hallows – Part 1” is all about anticipation. Much like the classic Carly Simon pop song of the same name once used to describe ketchup of all things, it could also aptly describe the latest big-screen installment of J.K. Rowling’s literary icon. Slow, leisurely but embodied with a rich, distinct flavor, the first part of the finale serves its purpose well: to set up the penultimate installment next summer; saying that it leaves you hanging is an understatement. This Hogwarts-Quidditch-free outing is a stripped down one: less clutter, better acted, bleaker and more cerebral than previous outings, it takes its time; non-fans will feel the 146-minute running time, while true fans will only be more eager for Part 2 next year.

Voldemort's (Ralph Fiennes) power is growing stronger. He now has control over the Ministry of Magic and Hogwarts. Harry (Daniel Radcliffe), Ron (Rupert Grint), and Hermione (Emma Watson) decide to finish Dumbledore's work and find the rest of the Horcruxes, which are Voldemorts key’s to immortality and destruction. But little hope remains for the trio and the rest of the Wizarding World, so everything they do must go as planned.

The seventh film in the “Harry Potter” series, it is dark, low-key and the most understated of all the Potter films, if that’s possible. There’s still considerable entertainment value, even if some of it feels a little sluggish at times. Fans will love it, non-fans will appreciate it, if not endure it; all the while it prepares the audience for the final – truly the final – act of the book, which has spanned 10 years to Potter emerge into an adult. David Yates, who directed the previous installment, again tackles this one along with stalwart “Potter” screenwriter Steve Kloves, who has the unenviable task of condensing Rowling’s dense, thickest novel of the series into a film. This Potter outing takes it time, probably too much so at different points, but it comes together for a resounding climax that answers a handful of questions but leaves many more until Part 2.

The best thing about Part 1 of “Deathly Hallows” is that underscores the chemistry of the three leads, who anchor this film more than they ever have. This outing purposely reduces clutter and special-effects, taking it completely out of Hogwarts as more or less a road trip for the three, and becoming more of a character study, which accounts for some of “Deathly Hallows” slow-going. Radcliffe continues to develop Potter into a strong character, though Grint and especially Watson are effective as his pals, who get as much screen time and importance to the story. Of the rest of the large, mostly British cast, Fiennes makes the most memorable impression as the film's scariest character, the dark Lord Voldemont.

The production values are typically high, and the special-effects, sets and music are all first-rate. There’s a memorable episode that has the three taking on different bodies, and a scary one involving a rather large snake. As with the other “Potter” films, I wouldn’t recommend it for anyone under 10 years of age, and not just for the dark, intense content, but the extensive 2 ½ hour length that would make it a patience and endurance test for any young child and parent. The climax is exciting, but eager fans will literally be left dangling until next summer.

Anticipation can be a great thing. “Harry Potter and the Deathly Hallows – Part 1” only lays the groundwork for what will be surely be an explosive showdown between Potter and Voldemont, with death in the mix somewhere. This outing is an entertaining, albeit leisurely epic fantasy journey that’s about to end, so savor it while you can.

Skyline - D

2010-11-06T11:43:00.024-05:00

Rated PG-13 for sequences of intense sci-fi action and violence, some language, and brief sexual content, 90 minutes

Visual effects only thing memorable about the banal “Skyline”

If you’ve seen the trailers for the new sci-fi film “Skyline” then it’s evident that the visual effects are impressive, first-rate and exciting. After you see the film you won’t remember anything else. In other words, the movie itself sucks and you get a few eye-popping CG special-effects here and there that were obviously added in post-production. The notes for the film indicate the physical production cost around $500,000, while the visual effects around $10 million. That’s never more evident since the film seems to have been shot in one location, a high-rise apartment; you’re also in trouble if the cast is headlined by the third lead from the TV-show “Scrubs.”

After a night of partying, a group of friends, including Jarrod (Eric Balfour) and his new pregnant girlfriend Elaine (Scottie Thompson) and their friend, rap star Terry (Donald Faison of “Scrubs”) are distracted when beams of light awaken everyone in Los Angeles, that then attract every person like a moth to a flame. As the night progresses, they soon discover that once exposed to the light, they vanish into thin air, caused by extraterrestrial forces that later threaten to swallow the entire human species.

“Skyline” is the worst film to feature the best special-effects since the last “Transformers” film; the special-effects are the film, which isn’t a surprise given the film was made by the Brother Strause, Greg and Colin Strause, special-effects guru’s who’ve worked on many films, from “Avatar,” “Wolverine,” “2012” and “The Book of Eli.” The energetic, impressive special-effects are terrific; they literally come out of the sky and those mysterious terrestrial lights start grabbing hold of everyone in the film. Too bad the same thing couldn’t be said for the film, with the worst acting and writing this side of the latest Keanu Reeves and Megan Fox film, whose salaries alone would eclipse the budget of this film.

It’s evident the money for “Skyline” was spent in post-production, adding all those space-ships and lights that come down from the sky, supposedly over 800 visual effects shots were added. The cheap feel of the production is evident given the vantage point is essentially from one luxurious high-rise apartment building in L.A. (the apartment building of one of the film’s directors).

It’s admirable that the Brothers Strause completely filmed the physical production without the assistance of the major studios. It’s unfortunate that “Skyline” is largely a waste of time without those special-effects, which doesn’t make the film that special at all. If you’ve seen the trailers for the film, then you’ve seen the film, don’t bother.

127 Hours - A

2010-11-06T11:43:00.017-05:00

Rated R for language and some disturbing violent content/bloody images, 95 minutes

Intense, enthralling, inspiring "127 Hours" is a must-see

“127 Hours” will make you think twice about hiking in the mountains alone. Telling the incredible true story of hiker Aron Ralston, who became trapped on the side of a mountain for 5 days in Utah and had to amputate his arm. Gut-wrenchingly intense, moving and even peppered with some humorous moments, “127 Hours” is one of the year’s unforgettable cinematic experiences. “Slumdog Millionaire” director Danny Boyle skillfully brings Ralston’s story to life and is sublimely performed in essentially a one-man show by James Franco (“Eat Pray Love”).

In spring of 2003, the unmarried Ralston (Franco) goes hiking in some Utah mountains alone. An experienced hiker and guide, Ralston knows the area and how to navigate it. He slips and falls in the crack on the side of a mountain and becomes trapped as a huge rock lands on his arm. He somehow survives for 5 days but believing he will be left to die there, sees his life pass in front of him. Determined to live, Ralston eventually amputates his arm and hikes back to civilization.

Amazingly gripping, entertaining and enthralling, “127 Hours” is an extraordinary film based on an extraordinary, simple story, thanks to the masterful direction and writing of Oscar-winner Boyle and the commanding presence of Franco, in an Oscar-worthy performance. The film’s most-talked about scene, the realistic and detailed amputation scene, is well-handled and nothing short of amazing when you think that Boyle shot it in one take; it’s bloody but not overdone and surprisingly brief.

Equally impressive is the production itself, stunningly photographed, peppered with humor and some memorable music, including the original score from A.R. Rahman, who worked with Boyle on “Slumdog Millionaire.” The opening scene with jaunty, energetic music, takes you right into the flow of the situation. Listen closely and you’ll also hear songs from Bill Withers and even Edith Piaf that work well as Ralston sees his life in flashback. Amber Tamblyn, Treat Williams, Kate Mara and Kate Burton also appear briefly as family and friends, but in a story about Ralston, Franco’s the most memorable one here.

The touching, inspirational coda to the story shows the real-life Ralston surrounded by his new wife, baby and family members as the man who once said he “cut off his arm and gained his life back.” This could’ve been sentimentalized in a maudlin movie-the-week way, but Boyle and Franco refuse to that happen, and “127 Hours” rises to the occasion to become one of the most intense but moving films of the year. A definite must-see.

Unstoppable - B

2010-11-06T11:42:00.004-05:00

Rated PG-13 for sequences of action and peril, and some language, 100 minutes

"Unstoppable" an entertaining non-stop joyride

In the entertaining new action-thriller "Unstoppable" you already know who the villain is: a runaway train. Starring Denzel Washington and "Star Trek's" Chris Pine and directed by Tony Scott, the film's action set pieces are breathless, exciting and white-knuckle, even if the story (inspired by real events) has a predictable "been there, done that" feel to it, not to mention a highly implausible but fun climax.

Pine is a newbie conductor named Will assigned to a train with a veteran engineer named Frank in Southern Pennsylvania. Meanwhile, at a nearby train station an error by an employee causes a train to spiral out of control at 70 miles per hour unmanned and carrying loads of toxic chemicals. Along with help from a disapatcher (Rosario Dawson), Will and Frank try to stop the train from crashing that would essentially wipe out a whole city.

"Unstoppable" is a enjoyable, action-adventure popcorn flick that could've easily been released during the summer movie season, when most films in this genre come out. Director Scott and his most-used leading man, Washington, re-team for the fifth time and their second outing together involving a deadly train (they worked together on last year's similarily-themed "The Taking of Pelham of 1-2-3"). Both films work near-perfect with Scott's usual fast-paced, frenetically edited, jumpy style, this even more so than "Pelham."

Based on real events that occurred in Ohio in 2001, the trains and the action take center stage in "Unstoppable" with characterization and story largely thrown out the (train) window (and once things get going, you don't really care). This is essentially "Speed" on a train, with Washington and Pine taking the Sandra Bullock and Keanu Reeves roles; you might also remember the 1985 Jon Voight thriller aptly called "Runaway Train," but "Unstoppable" runs the same colorful tracks as "Speed."

The film speeds predictably to a pat yet over-the-top climax, but there's no denying that "Unstoppable" provides some decent edge-of-your-seat entertainment that will likely make it a big hit. Washington gives his normal, stalwart performance that the veteran actor is accustomed to, while Pine continues his string of big action movies following his turn as the new James Kirk in the updated "Star Trek" films.

With the new "Harry Potter" film looming on the box-office horizion, this one will have a modest box-office take the first week and could be quickly forgotten, so enjoy it while you can.

Monsters - C

2010-11-01T10:21:00.006-05:00

Rated R for language, 94 minutes

Low-budget "Monsters" doesn't have many of them

For a movie about and called "Monsters," there sure aren't many of them. On one hand, the movie is efficient, no-nonsense and intriguing, on the other hand the film's low-budget is never more apparent, given there's very little of the actual monsters. A NASA probe sent out to gather samples on alien life crashes in Central America, mainly in Mexico, and it becomes an "infected zone" since the place is crawling with some huge, awful alien creatures that cause considerable death and destruction.

Visual-effects producer Gareth Edwards debut feature film, "Monsters" shows promise by providing some tension and not relying too much on gore to make a point. Still, Edwards doesn't show the creatures enough, and we're stuck with a boring story of an American journalist (Scoot McNairy) escorting a young rich girl (Whitney Able) to safety through the infected zone. "Monsters" has an original story and the potential to be the next "District 9," but it's low-budget hampers the film, as there are large, large chunks of the film that are creature-less. The special effects are impressive for the small film, but it's not until the final scene that we truly get to see the creature up close and personal, something most impatient audiences won't enjoy.

Part sci-fi and part post-apocalpytic world, "Monsters" is an otherwise dreary, depressing film, as if "District 9" were written by Cormac McCarthy. However, Edwards is a director and writer to watch, and could do better work with a better cast and bigger budget.

Morning Glory - B-

2010-11-01T10:20:00.031-05:00

Rated PG-13 for some sexual content including dialogue, language and brief drug references, 105

Wake up to see the spry, witty "Morning Glory"

“Morning Glory” is the spry, cutesy new romantic comedy starring Rachel McAdams, Diane Keaton and Harrison Ford. Slight, predictable but still energetic fun, it revolves around the backstage of a “Today”-esque national TV morning show. This thing has been done before and better (James Brooks’ “Broadcast News” comes to mind) but McAdams game energy and the Keaton-Ford chemistry make this an above-average entry in the genre.

McAdams is Becky Fuller, a producer of an early, early TV morning show in New Jersey. She’s fired due to budget cuts but ends up getting the job as an executive producer for the national morning show “Daybreak,” currently in last place in the ratings. She has the unenviable challenge of turning the show around, and brings in a veteran award-winning TV news anchor Mike Pomeroy (Ford) to help add a little credibility, and sparks soon fly as she has to play go-between Mike and long-standing “Daybreak” co-host Colleen (Keaton), putting everyone’s job on the line.

“Morning Glory” is as cute and calculated as you might think, but it’s worth a look for the Keaton-Ford bantering and McAdams’ spunkyness (as a friend astutely noted during the movie, she literally runs everywhere, which is true). The behind-the-scenes look at TV has been done before and this is really just a more comical version of the aforementioned “Broadcast News,” with McAdams in the Holly Hunter role. Roger Michell, who’s directed many from Peter O’Toole in ”Venus” to Julia Roberts in “Notting Hill,” stages many scenes well, especially the fast-paced environment of a TV studio, and the Keaton-Ford scenes.

Ford’s cynical grumpiness plays well against the perky Keaton and their bantering provides some of the film’s highlights. The script pulls no surprises and some may even call it misogynistic in its treatment of the women characters (Keaton in particular, whose role is clearly secondary to Ford) but there are fun moments along the way; add Patrick Wilson for love interest-eye candy and Jeff Goldblum throwing in a few barbs as Becky’s boss, and you have something for everyone.

“Morning Glory” is completely unsurprising and ends as you might expect it to, though in real-life it’d be hard to find any producer who would turn down the opportunities that McAdams’ character does here. Enjoyable, entertaining and mildly forgettable, “Morning Glory” is a good night out.

Due Date - C+

2010-11-01T10:20:00.027-05:00

Rated R for language, drug use and sexual content, 105 minutes

"Due Date" is an unoriginal buddy-buddy comedy

"Due Date" is essentially "The Hangover" transformed into a forgettable buddy-buddy road trip comedy. There are some decent cheap laughts in the otherwise unoriginal, uninspiring comedy from director Todd Phillips of "Old School" fame and stars Robert Downey Jr. and Zach Galifianakis.

Peter Highman (Robert Downey Jr.) must get to LA in five days to be at the birth of his firstborn. He is about to fly home from Atlanta when his luggage and wallet are stolen, and he is put on the "no-fly" list. Desperate to get home Peter is forced to accept the offer of Ethan Tremblay (Zach Galifianakis) to hitch a ride with him cross-country. Peter is about to experience one of the most terrifying and agonizing journey's of his life.

Derivative, predictable and terribly mean-spirited "Due Date" pulls absolutely no surprises down the stretch. Sure, there are some low-brow laughs, but this is essentially "The Hangover" on the road. Speaking of which, Galifianakis plays essentially the same annoying slob as he usually does (he and Jack Black take turns with this), while Downey is supposed to the straight guy. There are plenty of shenanigans along the way, including wrecking a car, getting thrown off an airplane and drink ashes as coffee. The two start out hating each other and by the end of the movie, well you know what happens.

John Hughes' "Planes, Trains and Automobiles" did this thing far better and funnier, with Steve Martin and John Candy providing better characters and timing than "Due Date." Downey and Galifianakis are indeed talented, but they need a better script and direction; it becomes tiresome and overly predictable by the end, you can probably guess what will happen just by looking at the trailers. Danny McBride, Jamie Foxx and Juliette Lewis also get in the act, to mixed results (only McBride, as a handicapped but tough veteran, is hilarious and he nearly steals the film).

"Due Date" will do well in its first week and will likely be forgotten after that, and very quickly.

Fair Game - B

2010-11-01T10:20:00.026-05:00

Rated PG-13 for some language, 108 minutes

Political drama "Fair Game" flows with suspense

"Fair Game" is an entertaining, powerful real-story political thriller superbly acted and directed. It's based on the true story of CIA operative Valerie Plame, whose cover was supposedly blown by White House officials in 2003 after Plame's husband, Joseph Wilson, wrote story about WMD's in the New York Times. Tense, affecting and relevant, Doug Liman ("The Bourne Identity") directs "Fair Game" and features excellent performances from Naomi Watts and Sean Penn, as Plame and her husband Wilson, respectively.

Watts plays Plame, a high-level CIA employee whose cover is blown by Robert Novak in his Washington Post column in July 2003. Penn is her husband Joseph Wilson, a former U.S. Ambassador who feels his wife was unfairly targeted due to his political beliefs and his criticism of the Bush Administration for their lack of evidence in finding any Weapons of Mass Destruction.

"Fair Game" is a superb, tense drama featuring inspired performances from Watts and Penn. Watts in particular gives a fine, subtle turn as Plame, with whom she bears a striking resemblance. Penn is good too though his performance, much like the film itself, becomes a bit heavy-handed and preachy near the end. The story is fascinating enough with the messages of right and wrong, though it leaves out a considerable bit of the story and its aftermath (and truthfully, never resolved if you think about it enough).

"Fair Game" is well-acted, well-done, and a thought-provoking film that works better in its initial chapters than in the later going. Well-worth a look.

For Colored Girls - C

2010-11-01T10:20:00.013-05:00

Rated R for some disturbing violence including a rape, sexual content and language, 120 minutes

Great cast best part of melodramatic "For Colored Girls"

"For Colored Girls" is the new urban drama from Tyler Perry featuring an all-star cast of some of the best actresses of our generation. The cast performs well in the soapy, overdone "For Colored Girls," based on the 1975 Ntozake Shange stage play "For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf." In spite of a few poignant moments, Perry's stale script is the chief flaw for the ambitious film, which lacks the power and grit a story likes this needs.

The stage play had several nameless women reading a collection of poems that dealt with intense issues that black women face. In the movie version, Perry gives the women names and each of the women have considerable challenges. Jo (Janet Jackson) deals with infeldity; Tangie (Thandie Newton) is a sex addict; Tangie's sister Nyla (Tessa Thompson) is young and pregnant; Juanita (Loretta Devine) has trouble keeping a faithful man; Crystal (Kimberly Elise) is stuck in an abusive relationship; Yasmine (Anika Noni Rose) has shattered dreams and expectations; Kelly (Kerry Washington) desperately wants to have a child but can't let go of her past.

Perry's choppy, histrionic and downbeat "For Colored Girls" doesn't work in spite of the earnest efforts of the cast, which is unfortunate given the talented cast. Devine, Newton and particularly Elise are the most memorable of the large cast, which also includes Oscar-winner Whoopi Goldberg and Felicia Rashad, both of whom aren't given much to do. Jackson is woefully miscast and her wooden performance drags the film down.

The challenging source material, Shange's play, which was a series of non-linear poems and stories, is turned into a more linear soap opera with some of Perry's typically preachy messages. In spite of the great cast, inspiring play and a handful of good moments (most provided by the always-hilarious and shrill Devine) is a stale, unmemorable effort.

Megamind - B-

2010-11-01T10:19:00.001-05:00

Rated PG for action and some language, 96 minutes

Charming, talky “Megamind” an entertaining superhero romp

Peanut butter and jelly. Abbott and Costello. Good and evil. Some things just go together. The charming, witty new Dreamworks animated film “Megamind” explores some of those ideas in bright 3D. Leisurely, playful but a little talky, some of it may go over the heads of the young ones it’s intended for. Well-voiced with some colorful hues, it’s not as zany as you might expect, but it’s still enjoyable fun.

Megamind (Will Ferrell), the super-villain with a huge blue head, and handsome superhero Metroman (Brad Pitt) have been lifelong foes, with TV news anchor Roxanne (Tina Fey) reporting their every move. After an intense fight, Megamind really kills Metroman but becomes bored because he has no one to fight. Along with his trusted colleague Minion (David Cross), Megamind creates a new superhero named Tigthen (Jonah Hill), but it disastrously backfires, and he finds himself making the decision to be a hero or villain.

The enjoyable “Megamind” is an above-average animated superhero tale from the makers of the animated “Madagascar” films. The movie is dialogue-heavy, most kids won’t get many of the references from other superhero movies or some of the jokes and most troubling, there’s a big lull in the middle of the movie, but it is peppered with some bright spots along the way.

Without its fun cast and colorful animation, “Megamind” might be a downright bore. Ferrell is his typical goofball self as the bored, blue superhero; Fey is chipper as the reporter caught in the middle, and Hill especially has fun with his good guy/bad guy hero part. Pitt’s role is much smaller than you might expect, but he lends an able hand to bookend the movie. Comic character actor Cross (currently seen in the Fox comedy “Running Wilde”) is witty as Megamind’s fish minion, and listen closely for an unrecognizable Ben Stiller in a small voice role.

“Megamind” works best when it doesn’t have to think too much and you don’t have to listen closely to the jokes. While some of the references are clever, such as a father that is a direct homage to Marlon Brando’s Jor-El in “Superman,” young ones won’t get it or realize that Fey’s role is really just another Lois Lane. Director Tom McGrath (“Madagascar”) should’ve kept it flowing better and it veers off in the second act, only to return to the high fun and energy in the climax.

“Megamind” is decent, original entertainment for the family, though it’s not as uproariously funny as it should be given the comic credentials of Ferrell, Fey, Cross and Stiller. The movie doesn’t have enough inspiration to provide mega-laughs but there’s enough to still leave with a mega-smile.

Saw 3D - D

2010-10-28T21:56:00.007-05:00

Rated R for sequences of grisly bloody violence and torture, and language, 91 minutes

Hopefully this will be the final "Saw"

As the old saying goes, there is one way to come in the world and a million ways to die. As if that's not enough, the "Saw" horror franchise has made millions of dollars on that saying alone, coming up with new and inventive ways to torture and murder people. We fully realize the point of the films by now: Jigsaw (Tobin Bell) is a serial killer who exacts his own unique brand of revenge on all the bad people of the world, creating a game of traps that they must escape or die.

This supposedly final "Saw" installment, the 7th, is brought to you in glorious 3D and more gruesome traps than ever. Fans of this franchise will enjoy all the blood and violence as it brings back cast members from past installments; even with all these gimmicks, it's still an excessively violent, badly executed and unsurprising horror flick that exists solely to revolve around all the gory traps that highlight of the film. It's a mixed bag: there are absolutely no surprises but they're admittedly entertaining in a guilty pleasure sort of way.

"Saw 3D" brings back Dr. Lawrence Gordon (Cary Elwes) from the first "Saw" film who survived Jigsaw's (Bell) brutal game but lost a leg in the process. This new film explains what happened to Gordon since the first film but also continues a new plot involving a fake Jigsaw survivor, Dr. Bobby Dagen (Sean Patrick Flannery) who has become wealthy by telling his fictional story of how he survived Jigsaw and gone on to a better life. He is captured by Jigsaw and must truly survive another deadly game of torture and violence. Meanwhile, Jigsaw's wife Jill (Betsy Russell) is hunted down by Detective Hoffman (Costas Mandylor), who has become Jigsaw's new assistant.

"Saw 3D" is one of the weaker installments in the franchise, held together only by the traps, which have a life of their own by now. The plot is recycled, the violence unsurprising, the acting terrible as usual. The plot angle to bring back Gordon to the film is so baffling and contrived that it may have "Saw" fans scratching their heads in disbelief. The film is directed by Kevin Greutert, who helmed "Saw 6" and he does little to advance the story except elaborately film the traps set up to kill folks this time out, which involve everything from steel traps to chain saws to an old El Camino.

The "Saw" films, much like Freddy, Jason and Michael, will no doubt live on in some way, shape or form. Even if this is the final installment of this series, expect Jigsaw to be back in some reincarnated fashion. It's been an altogether disappointingly mediocre, bloody ride, and the 3D here, much like other films, doesn't help to actually make it a better film. This series has definitely run its course, but "Saw" fans should turn out, at least the first week, to see what it's all about. Let's hope for the last time. Yea right.

Stone - C

2010-10-24T16:13:00.006-05:00

Rated R for strong sexuality and violence, and pervasive language, 105 minutes

"Stone" is an unconvincing, flat drama

You'd think a film with two well-respected actors such as Robert DeNiro and Edward Norton would be more energetic and believable, but their new movie, "Stone," a drama and sexual triangle involving a prisoner, his parole officer and the prisoner's wife, is bland, implausible, downbeat and just hard to buy into. Sure, there are moments of acting brilliance with a couple of hefty interchanges between DeNiro and Norton, but the rest of it is a forgettable tale of redemption and grace.

Parole officer Jack Mabry (Robert De Niro) has only a few weeks left before retirement and wishes to finish out the cases he's been assigned. One of his cases is Gerald "Stone" Creeson (Edward Norton), a convicted arsonist up for parole. Jack is initially reluctant to indulge Stone in the coarse banter he wishes to pursue and feels little sympathy for the prisoner's pleads for an early release. Seeing little hope in convincing Jack himself, Stone arranges for his wife Lucetta (Milla Jovovich) to seduce the officer, but motives and intentions steadily blur amidst the passions and buried secrets of the corrupted players in this deadly game of deception.

"Stone" is a stark, overly earnest yet well-acted drama about forgiveness and faith that is in need of a better script. DeNiro and Norton do their best to overcome the heavy-handed, contrived script (Angus MacLachan of "Junebug") and direction (John Curran of "The Painted Veil") that audiences will have trouble relating to. It's baffling why DeNiro's character, so close to retirement, would screw things up royally for himself and those around him. And miscast action star Jovovich ("Resident Evil") throws the film off considerably, she is simply not in the league of the rest of the cast. Watch for Frances Conroy ("Six Feet Under") in the movie's most believable and sympathetic role, as the put-upon wife of DeNiro's character.

Norton overracts but is still worth watching, and he and a low-key DeNiro have a few decent scenes together that pepper the earnest, slow-moving film. "Stone's" messages of redemption and faith are worthy, but the film is otherwise forgettable and a disappointment considering the talent.