happythankyoumoreplease - C+

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-

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

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

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

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

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

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