A Most Wanted Man - B

Rated R, 121 minutes

"A Most Wanted Man" another tense, intelligent  le Carre spy outing

"Tinker Tailor Solider Spy" and "The Constant Gardner" are among the many classic spy novels from legendary author John le Carre, and another of his books gets the big-screen treatment with the involving new spy thriller "A Most Wanted Man." Well-acted and sublimely executed, "A Most Wanted Man" is a solid, worthy film though not on the level of the power "Tinker." When a half-Chechen, half-Russian, brutally tortured immigrant turns up in Hamburg's Islamic community, laying claim to his father's ill-gotten fortune, both German and US security agencies (including Philip Seymour Hoffman in one of his last roles, Rachel McAdams, Willem Dafoe, Daniel Bruhe and Robin Wright) take a close interest: as the clock ticks down and the stakes rise, the race is on to establish this most wanted man's true identity - oppressed victim or destruction-bent extremist? Directed by Anton Corbijn ("The American") and written by Andrew Bovell ("Edge of Darkness") and based on le Carre's best-seller, like most of le Carre's works, it's a powerful, tense and even thoughtful ride. The films based on le Carre's books are usually very good, as this one, though the action is often so well-spoken and leisurely paced that you often have to pay good attention to what's going on, or you'll miss something (in other words, go to the restroom before seeing the movie), not to mention you must stay until the very end to see everything. Hoffman, in one of his final roles before his untimely death earlier this year, is very believable, with a sturdy German accent that's likely to rival Meryl Streep's; McAdams and Dafoe are also strong here in roles central to the script. The only miscasting in my opinion seemed to be Robin Wright, a fine actress but here given an ill-fitting black wig to wear that is most distracting, especially in her scenes with Hoffman, who gives the movie's most intelligent performance. You generally can't go wrong with le Carre's books, and the movie is an easy sell for his large fanbase. A serviceably intense, intelligent spy thriller with a mostly satisfying payoff, "A Most Wanted Man" is worth your time and far less simplistic than most contemporary spy fare.

Wes's Grade: B

And So It Goes - C

Rated PG-13, 97 minutes

Cast is charming, but Reiner's comedy "And So It Goes" feels stale

It's hard to see talented actors going through the motions in second-rate material that doesn't genuinely use their talents well. That is the case with the new Rob Reiner ("When Harry Met Sally") comedy "And So It Goes," starring Oscar-winners Michael Douglas and Diane Keaton. Seeing them together on screen for the first time is a treat, though the well-worn material and stale comedy is beneath their talents. Douglas is obnoxious veteran realtor and widower Oren Little, who wants nothing more than to sell one last house and retire in peace and quiet -- until his estranged son suddenly drops off a granddaughter (Sterling Jerins) to take care of for a few months. Clueless in caring for a sweet nine-year-old, he pawns her off on his sweet neighbor Leah (Keaton) trying to resume life uninterrupted. But little by little, Oren stubbornly learns to open his heart - to his family, to Leah, and to life itself. Charming but way too predictable and overly sentimental, "And So It Goes" seems like a revisionist "When Harry Met Sally" crossed with "As Good As It Gets" (which itself is unsurprising, given that the writer of this film, Mark Andrus, wrote that film too). The odd-couple type dramedy feels forced and too contrived to be believable, in spite of two great actors in Douglas and Keaton, who admittedly make for a charming pairing. Reiner himself has a small part in his own mediocre outing, but the most memorable of all the cast is veteran actress Frances Sternhagen, as the wise-cracking, chain-smoking elderly assistant to Douglas's character. She walks off with the movie, and her one-liners are the most memorable (a waitress tells her to put out a cigarette in a restaurant she says "good for you, honey, you don't need to smoke"). If only the rest of the movie were as good as Sternhagen, then we'd have a nice little summer treat. But as it is "And So It Goes" feels like that stale Cheeto at the bottom of the bag. You may reach for it, but later on you'll wish you hadn't. Unmemorable at best.

Wes's Grade: C

The Fluffy Movie - B-

Rated PG-13, 101 minutes

There's plenty to laugh at in Iglesias' concert movie "The Fluffy Movie"

If you've seen and enjoy any of standup comedian Gabriel Iglesias' TV, then you'll also laugh heartily at his new concert movie, "The Fluffy Movie." The film, which was shot over a couple of different performances in San Francisco last year, is little more than an extension of Iglesias' comedy specials, as he riffs on a variety of different issues, including his weight, family, relationship issues and traveling in foreign countries, among other things. Iglesias is a skilled comedian and voice artist - his impressions are a highlight - though his humor often he relies too heavily on stereotypes to make a point. Still, he is genuinely funny, he doesn't profanity much and there are some solid laugh-out moments, particularly when he discusses his weight ("You can call me Buffy" in reference to his weight loss) or talks about the traffic while traveling in India. Iglesias doesn't expound on anything revelatory outside his specials, and you may even be better off watching some of those rather than seeing this, but you'll still leave with a smile bigger than Iglesias himself. Mainly for Iglesias' fan  base, but still enjoyable nonetheless.

Wes's Grade: B-

Planes: Fire and Rescue - C+

Dusty

Rated PG, 84 minutes

Silly "Planes: Fire and Rescue" isn't much, but kids will still enjoy it

The new Pixar animated sequel "Planes: Fire and Rescue" channels one classic Disney character: Goofy. The thin, threadbare story is all too-familiar, but it's cute, goofy and colorful enough the young set will still enjoy it. When world famous air racer Dusty Crophopper (voice of Dane Cook) learns that his engine is damaged and he may never race again, he must shift gears and is launched into the world of wildfire air attack. Dusty joins forces with veteran fire and rescue helicopter Blade Ranger (voice of Ed Harris) and his courageous air attack team, including spirited super sooper Lil' Dipper (voice of Julie Bowen) and learns the meaning of being a true hero."Planes: Fire and Rescue" is a sequel to the 2013 Pixar surprise hit "Planes" and if you saw that film (or either of the "Cars" films), you've pretty much seen this one too. The clean, crisp and bright CG animation is the most memorable thing about "Planes: Fire and Rescue," not to mention the bevy of familiar voices, many from the first film (including Brad Garrett, Stacy Keach, Teri Hatcher and Cedric the Entertainer, among others), some new ones (Julie Bowen, Ed Harris) and some downright fun ones (Jerry Stiller, Fred Willard, Anne Meara). Like the first film, this film's goofy sensibility and humor ("I'm gonna kick your Aston Martin" among them) carries the film past its leisurely plot, which involves putting out fires and becoming a hero. There's nothing wrong with any of that, except that was done with the first "Planes" film (and along with that film, could've easily made the transition to video and reach a wider audience, just saying). However, the kids will still be satisfied most, and if you have young ones, that can be very important.

Wes's Grade: C+

Lucy - B-

Rated R, 89 minute

 Besson's "Lucy" a wild, preposterously entertaining ride

Scarlett Johansson

It's "The Matrix" mixed with "La Femme Nikita" with a little bit of Superman. That may not be the best description for Luc Besson's over-the-top, wildly uneven yet never dull new action thriller "Lucy," that proposes what would happen if a human ever gained 100% use of their brain. In a world run by the mob, street gangs, drug addicts, and corrupt cops, Lucy (Scarlett Johansson) is a woman living in Taiwan who is forced to work as a drug mule for the mob. An artificial super-drug implanted in her body inadvertently leaks into her system, which allows her to use more than the normal 10% of her brain's capacity, turning her into a superhuman. Directed and written by Besson, who's ground some classic crime thrillers, including the aforementioned "Nikita," "The Professional" and "The Fifth Element," it's a wild mish-mash of violent crime, sci-fi and action. Thematically, it's a little all-over-the-place; realistically, it's preposterous; as entertainment, it's far from dull. "Lucy" is certainly a wild ride but filled with some of Besson's usual touches of stylistic, bloody violence and fast-paced action that keep it moving nicely. The film works great until the unnecessarily violent final act, when it really doesn't know what to do with Lucy's 100% brain usage and it essentially becomes a bloodbath. Johansson is inspired casting for the title role: she carries the film with the combination of her good looks, vulnerability and intelligence, though I wanted to see more scenes with Morgan Freeman, who also receives top billing but whose role is strictly supporting, he really has just a couple of brief scenes with Johansson at the end. "Lucy" is terrific fun in the right frame of mind (no pun intended), though for a movie about brain usage, it's fairly mindless. Like most of Besson's films, "Lucy" is flawed but enjoyable and worth seeing.

Wes's Grade: B-

Hercules - C

Rated PG-13, 98 minutes

"Hercules" is a mess, but still entertaining

The Rock as Hercules

Sometimes having fun at the movies is what is most important, and the new action film "Hercules," a revisionist tale starring The Rock in the title, underscores that statement perfectly. It's mindless summer fun filled with loads violence and battles with The Rock his usual charming self. Having completed his legendary twelve labours, Greek demigod Hercules (Dwayne "The Rock" Johnson) has his life as a sword-for-hire tested when the King Cotys (John Hurt) of Thrace and his daughter seek his aid in defeating a tyrannical warlord. Directed by Brett Ratner of "Rush Hour" fame, "Hercules" is shallow fun: one endless battle yet also one big mess. Little to speak of in plot, character or acting, admittedly it's far from dull and should please the crowds the weekend before Marvel's "Guardians of the Galaxy" sets in. The Rock is completely likable, but then he usually is, and he's well-supported by a bevy of decent, respected actors including Joseph Fiennes, John Hurt (in the Anthony Hopkins role), Rufus Sewell and of course Ian McShane, who steals the movie with his character's longing to die a legendary death. And to its credit, "Hercules" moves by quickly and efficiently, from one battle to the next, though after about the third or fourth one I lost track of why they were even fighting. But is that really important here? Director Ratner, one hardly known for subtlety, plays this as a ridiculous, revisionist affair, filled with lots of violence and battles (that certainly push the PG-13 rating), muscles and skimpy leather loincloths. You'll have fun, and many people may turn out this weekend to see it, but it'll be a fading memory once Marvel and "Guardians" arrives next weekend.

Wes's Grade: C

Wish I Was Here - C+

Rated R, 114 minutes

Braff's charming but overly familiar "Wish I Was Here"

I've always liked Zach Braff, from his days on the TV sitcom "Scrubs" even through his well-received (but overrated, in my opinion) feature "Garden State." He directs, stars and writes in the sweet new comedy "Wish I Was Here" (which was partially funded through Kickstarter), which is more or less a likably reflective, revisionist follow-up to "Garden State" though it's quirky, sitcomy feel to it makes it seem a little shallow. In other words, if you've seen "Garden State" or "Scrubs," you've also seen "Wish I Was Here." The movie tells the story of Aidan Bloom (Braff), a struggling actor, father and husband to Sarah (Kate Hudson), who at 35 is still trying to find his identity; a purpose for his life. He winds up trying to home school his two children (Joey King and Pierce Gagnon) when his father (Mandy Patinkin) can no longer afford to pay for private education and the only available public school is on its last legs, and is forced to learn about fatherhood and his own spirituality, among other things. The enjoyable but unmemorable "Wish I Was Here" may make you feel you were somewhere else: it's a likable film about likable people struggling with some unlikable things. The quirks and some of the one-liners will remind you of Braff's long-running sitcom "Scrubs" (watch for a cameo from his co-star Donald Faison), while the wistful indie-acoustic tunes will remind of "Garden State" as Braff's character very leisurely learns about being a great father and role model. "Homeland's" Patinkin steals the movie in his brief scenes as the wise and wise-cracking father; he and Hudson share one particularly affecting scene mid-film as they discuss the impact Patinkin's character had on the family. Yet, even those death-bed scenes go on too long, as Braff really wants to tug on those heart strings or make you laugh instead of delving into the issues he presents with some real substance. I really liked "Wish I Was Here" but that doesn't necessarily mean it was great, either. I had already seen it with Braff's previous efforts, and while the film has some affecting moments, it's a hardly revelatory examination of mid-life struggles.

Wes's Grade: C+

Boyhood - A-

Rated R, 164 minutes

"Boyhood" a fascinating, remarkable journey from Linklater

"Boyhood" is an engaging, affecting and superbly acted and directed story of a young boy as he transitions from boy to man. Directed and written by Richard Linklater ("Before Midnight"), it's a fascinating character study that draws you in early on, to the point you won't feel is 2 hour, 45 minute running time. The film tells a story of a divorced couple, Mason (Ethan Hawke) and Olivia (Patricia Arquette), raising their young son, Mason Jr (Ellar Coltrane). The story follows the boy for twelve years, from first grade at age 6 through twelfth grade at age 18, and examines his relationship with his parents as he grows up. "Boyhood" is a superbly drawn character study that has garnered attention for it's highly unconventional method of filmmaking; Linklater shot the film a few days a year for 12 years straight (it was originally known as "12 Years" until "12 Years a Slave" came along last year), to show the boy's progression from small boy to the early stages of manhood. Newcomer Coltrane ("Fast Food Nation"), whose only acted in a handful of films, grounds the film in one of the year's best, most believably moving performances seen by a young actor in some time. It helps tremendously that the veteran Linklater handles his story with care - his thoughtful direction and writing is among the best he's done, which is saying a lot from the director and writer of the "Before"  movies and classics like "Dazed and Confused." The Texas-set and shot film (if you live in or near Houston some of it may be familiar to you) is like an interesting stroll through memory lane, touching on some of the more memorable aspects of the childhood, both good and bad, particularly the failed romantic relationships of his Mom and the instability of his Dad, in touching performances from both Arquette and Hawke, not to mention his sister Sam, played with warmth by Linklater's real daughter, Lorelai. "Boyhood" is a remarkable journey for sure, in one of the most touching, unsentimental and believable journey's you will see. If you're the action-movie type, then "Boyhood" most likely won't be for you, especially the length. But it's also Oscar-worthy and hopefully will play into the awards for this year, particularly for Linklater's masterful direction and writing, and all the stellar performances. Put this one on your must-see list.

Wes's Grade: A-

Sex Tape - C

Rated R, 90 minutes

Cameron Diaz and Jason Segel

Mildly entertaining, silly "Sex Tape" a rather limp affair

As the legendary Bart Simpson once said,

"I never thought it was humanly possible, but this both sucks and blows." That could apply to the messy, rauncy new comedy "Sex Tape," which in spite of the charming leads and a handful of fun moments, is a rather tame, mostly laugh-free affair and mostly a low-brow ad for Apple products, who should consider suing for slander. After ten years together and two kids, Jay (Segel) and Annie (Diaz) try to put some spice back in their relationship by making a sex tape. The recording leaks and the couple struggles to get it back off the web. Directed by Jake Kasdan, who along with Diaz and Segel brought us the equally mediocre comedy "Bad Teacher" (of which Diaz made a whopping $40 million off of in a generous back-end deal, but I digress), "Sex Tape" is a lame, disappointing effort with its funniest moments at beginning and end. Much like bad sex, it starts off well and ends with at least one person satisfied, but loses steam considerably somewhere in the middle. In other words, it's a mess, which is sad given I usually like Segel, trimmed down here for the obvious (but very choreographed and carefully photographed) sex scenes. It starts off promisingly showing how the couple's relationship has wilted sexually, but it really limps along when it becomes a scavenger hunt for that darned video. The extended episode in the second act that has the two trying to locate the tape at the mansion of an executive (Rob Lowe, ironically cast here given his own sex tape experiences, how we forget) is just painfully executed and a low-point in the careers of both director and all actors, involving a large dog, an iPad, cocaine and no laughs to speak of. "Sex Tape," after a genuinely amusing cameo from Jack Black, finally ends with the showing of the tape itself, albeit in super fast-forward, and admittedly it's the funniest part of the movie, but even with good sex, it's all too brief.  "Sex Tape" could've been a sharp, Apatow-like look at relationships and sex, but it's more of a quickie: too easy, too shallow and with little meaningful conversation. Unsatisfying for sure, but probably enjoyable enough to score a few bucks at the box office.

Wes's Grade: C

The Purge: Anarchy - C

Rated R, 103 minutes

Mildly entertaining but contrived "The Purge: Anarchy" continues the blood and mayhem

Frank Grillo stars in "The Purge: Anarchy"

The highly exploitative, mildly entertaining and blood-soaked sequel "The Purge: Anarchy" arrives in theaters this weekend, a follow-up to last summer's huge horror hit, "The Purge." If you enjoyed that film, whose intriguing premise was dampened by all the violence, then you'll enjoy this one, which amps up the gratuitous blood but is much sillier and more contrived than the first film. (Just in case you didn't catch the first film, The Purge is a night where all crime is legal and all hospitals, fire stations, poison control centers and police stations in the United States are closed down for 12 hours.) "The Purge: Anarchy" takes place in 2023, a year after the first film involves several unsuspecting individuals brought together to try to survive the night: a couple named Shane and Liz (real-life husband/wife Zach Gilford and Kiele Sanchez), whose car breaks down just as the Purge is commencing; Leo Barnes ("Captain America's" Frank Grillo), a former cop who goes out into the streets to get revenge on the man who killed his son, and a mother and daughter, Eva (Carmen Ejogo) and Cali (newcomer Zoe Soul), forced onto the streets after their apartments is invaded. Directed and written by James DeMonaco, who delivered the first "Purge" to big bucks, brings us "The Purge: Anarchy," an expected yet unnecessary sequel whose unoriginal story and cliches have little place to go. Granted, it's strangely intriguing (as was the first film) and terribly exploitative, squeezing as much blood as they can from this turnip, and on that note it can be dumb, predictable fun, but the story and characters are considerably lacking any depth, backstory or sense for that matter (let's decide to take a ride just hours before the Purge starts - a great idea!). Newcomer Zoe Soul shows some spunk and Grillo is a memorable grumbler, but the attractive cast can't do much with the story that goes nowhere, including a ridiculous "Hunger Games"-style arc in the last act that is particularly disappointing, and with a finale that seems both rushed and vague. The mildly entertaining "The Purge: Anarchy" only does one thing well (and maybe that's all it needs to do), in that it continues the blood and mayhem, no doubt pleasing the masses who enjoy this type of thing.

Wes's Grade: C

Dawn of the Planet of the Apes - B

Rated PG-13, 130 minutes

The apes still rule in solid, entertaining "Dawn of the Planet of the Apes"

Andy Serkis as Caesar

Due to vacation, I just saw the latest entry in the new "Planet of the Apes" franchise, "Dawn of the Planet of the Apes" and it's entertaining, often rousing and intense as it continues the human-versus-apes fight. I enjoyed it, but didn't love it as much as my peers have (it's over 90% currently on the Rotten Tomatoes site), some of whom are comparing this to "The Empire Strikes Back" in terms of quality, which is a bit of a stretch. A growing nation of genetically evolved apes led by Caesar (Andy Serkis, still remarkable) is threatened by a band of human survivors (including Jason Clarke, Keri Russell and Gary Oldman) of the devastating virus unleashed a decade earlier. They reach a fragile peace, but it proves short-lived, as both sides are brought to the brink of a war that will determine who will emerge as Earth's dominant species. Directed by Matt Reeves (of "Cloverfield," one of my least favorite creature movies, ever), it's an entertaining chapter in the new "Apes" franchise, though still lacking the power of the original, with an uneven, somewhat detached script and a lackluster human cast. The highlight is still the intense performance from Serkis (who has become the king of performance capture) and the ape actors, who outshine all the human actors, who are all likable but blandish, not to mention one of cinema's best actors, Oldman, is underused here in a small supporting part. The one small problem I've had with performance capture (especially in the new "Apes" films), is that the apes still appear, well, almost too human, with the eyes in particular a slight distraction, making it still feel too much like actors behind makeup and suits, though much improved from the gorilla suits of old. "Dawn of the Planet of the Apes," much like it's predecessor in this series, "Rise of the Planet of the Apes" (James Franco even cameos, sort of), is a solid, well-made and enjoyable film with a few good things to say about leadership, race and war, though it peaks a little early, with a weak ending that of course leaves it open for more of these. It's not not stronger than the 2011 film, but on par, fitting perfectly into the summer movie race, but one you may forget before the summer is up. Worth seeing for fans of the first film, who will enjoy it most.

Wes's Grade: B

Life Itself - A

Rated R, 112 minutes

"Life Itself" a fascinating, engaging portrait of one of cinema's most memorable characters

If you see just one film over the July 4th holiday weekend, make it the new documentary "Life Itself," an enjoyable, fascinating look at one of movie's most interesting characters. "Life Itself" is the inspiring and entertaining look at world-renowned film critic and social commentator Roger Ebert, a story that's also personal, complex and often very funny. Based on his bestselling memoir of the same name the film also explores Ebert's legacy, from his Pulitzer Prize-winning film criticism at the Chicago Sun-Times to becoming one of the most influential cultural voices in America. Directed by Steve James of the Oscar-winning "Hoop Dreams," it's one of the most compelling, absorbing and highly entertaining movies of the year, and it's certainly one of the more memorable documentaries of late. It's also bittersweet and heartbreaking following Ebert's passing in 2013, and it only underscores his influence and how much he's missed. "Life Itself" focuses on Ebert's career in journalism and in film criticism, from his appointment as film critic at the Chicago Sun Times in the late 1960s to his host of the TV show "At the Movies" with his friend/nemesis Gene Siskel, which propelled film criticism to new heights and new levels. That section of the film (and his relationship with Siskel) is its most fascinating as well, though it does provide some insight and relevance into his personal life as well, that he was an overweight, self-absorbed alcoholic though also brilliantly smart and funny, who had some serious health issues later in life. Produced by acclaimed filmmakers Steven Zaillian and Martin Scorsese, "Life Itself" likely will appeal most to film geeks and critics like myself, though there's a heartwarming appeal and grace for anyone who's seen a movie; it's also sweet seeing his relationship with his wife Chaz and finding true love as he grew older. Ebert was a flawed character and far from perfect, but he loved movies and loved talking, and his significant contributions to cinema won't easily be forgotten, and the absorbing "Life Itself" may make you miss Ebert even more."Life Itself" does right by Roger Ebert - it's a beautiful, revelatory tribute - and that makes me glad. Thumbs up. A must-see.

Wes's Grade: A

Earth to Echo - C

Rated PG, 85 minutes

Unoriginal "Earth to Echo" short, sweet and jumpy

As my movie buddy Ellen describes it, "Earth to Echo" is "E.T. on steroids." That would describe the derivatively plotted but energetic sci-fi adventure "Earth to Echo" and it would also aptly describe the shaky, documentary-style photography that the movie heavily utilizes. Tuck (Brian Bradley), Munch (Reese Hartwig) and Alex (Teo Halm) are a trio of inseparable friends whose lives are about to change. Their neighborhood is being destroyed by a highway construction project that is forcing their families to move away. But just two days before they must part ways, the boys begin receiving a strange series of signals on their phones. Convinced something bigger is going on, they team up with another school friend, Emma (Ella Wahlestedt), and set out to look for the source of their phone signals. Directed by Dave Green with a script by Henry Gayden, "Earth to Echo" is a mildly entertaining but unoriginal sci-fi film geared for the Nickelodeon set, who will no doubt enjoy the charming, unknown cast and creature known as Echo, which reminds of a miniature, live-action version of "WALL-E" though the story and plotting most resemble the classic "E.T. - The Extra Terrestrial" which this generation doesn't know. "Earth to Echo" is a Disney castoff, literally. Developed, produced and shot by Disney, they later sold it Relativity, who certainly has high hopes of being a hit, though the low-key marketing efforts reflects that this studio is unsure of that. Problematic is the murky, ADD script, which is a little all over the place and short on character, not to mention a no-name yet charming cast and all the excessively jumpy camera movements, which may make you a little dizzy (especially when the camera is positioned on a bicycle). Still, Echo the creature is cute and so is the cast, and it speeds along to a finale that seems a little rushed, but should no doubt still please the young crowd it's geared for. All in all, the thin, mildly enjoyable "Earth to Echo" isn't much to scream about and given how unmemorable it is, it isn't surprising that Disney sold it off. You're better off renting "WALL-E" or "E.T." to show kids these days what real sci-fi adventure is all about.

Wes's Grade: C

Snowpiercer - B

Rated R, 126 minutes

Oddly, strangely entertaining is Joon-ho's exciting sci-fi thriller "Snowpiercer"

"Snowpiercer" is one of the most bizarre, ambitious, over-the-top yet exciting science-fiction thrillers seen this year, and it comes from acclaimed South Korean director Bong Joon-ho ("The Host") and features a well-known, international cast. How it will play in the U.S. is anyone's guess, given the stark, unconventional tone of the movie. The dark, apocalyptic film features a failed global-warming experiment kills off most life on the planet. The final survivors board the Snowpiercer, a train that travels around the globe via a perpetual-motion engine. When cryptic messages incite the passengers to revolt (led by Chris Evans, Jamie Bell, John Hurt and Octavia Spencer, among others), the train thrusts full-throttle towards disaster. Joon-ho's "Snowpiercer" is a thrilling, albeit strange ride that will have you both engaged and scratching your head at the same time. The heavily stylized film is tremendous fun and vastly entertaining in the right frame of mind, maybe in a midnight show after some drinks and a heavy meal. Settle in for some of the oddest things to be seen, including the always-weird and fun Tilda Swinton, who in coke-bottle glasses, bright red wig and large teeth, steals the movie, not to mention some bloody, hand-to-hand fight scenes and Ed Harris as the lead villain. The slower, odder first act settles down a bit, though there's one humorous scene midway through involving a classroom full of children and a song sung by Alison Pill that will make you laugh out-loud. "Captain America's" Evans is an interesting casting choice here but he grounds the film well when scenes aren't stolen by Swinton, Hurt or Spencer, all of whom meet their demise in vastly different ways. Speaking of which, the film is exciting especially in the climax though it can be a downer for some. "Snowpiercer" is definitely exciting and thrilling, just know it's not your conventional action adventure film, and that will work fine for the many who'll see it.

Wes's Grade: B

Begin Again - B+

Rated R, 101 minutes

Effusive, buoyant musical rom com "Begin Again" hits the right notes

The charming new romantic comedy "Begin Again" from the director of the 2007 Oscar-winning hit "Once" brims with enough crack and pop that you'll be humming the tunes and remember the brave storyline that doesn't always take the easy way out. For these reasons and more, it's the best romantic comedy in a genre that needs more films like this. "Begin Again" pairs Keira Knightley and Mark Ruffalo as two urbanites who are starting over at different areas in their lives. Knightley is the British Gretta, who relocates to New York City with her rising pop-star boyfriend (Adam Levine), who dumps her as he goes on the road. Ruffalo is a washed-up and alcoholic record-executive who is dumped by his own label with personal struggles with his estranged wife and teenage daughter (Catherine Keener and Hailee Steinfeld). A chance encounter between the two sets off an unlikely collaberation that will hopefully put the two back on the right path. Directed and written by "Once's" John Carney, "Begin Again" (previously titled "Can a Song Save Your Life?") is an enchanting, often soul-stirring portrait of starting over, with a braver look at romance than most films in this predictable genre have. It also helps the film is infused with some exuberant tunes from Carney and his "Once" star Glen Hansard, not to mention the warm chemistry from Knightley and Ruffalo, who make for a memorable pairing. Also good is real-life pop singer (of Maroon 5 and TV's "The Voice") Levine in a small supporting role as the jerk pop-star boyfriend, though his unusual facial hair in the last act is a tad (make that considerably) distracting. The music is simply the backdrop for the relationships, but the mixture of music and romance is a nice one, and "Begin Again" is worth a look. Some of it meanders in the second act and some character motivations aren't fully explained, but the tunes (not to mention the backup musicians) make for an interesting time. Even better is the buoyant soundtrack, of which I plan on purchasing. "Begin Again" is compelling especially if you've ever been dumped, but is worth a look for wherever you're at in life.

Wes's Grade: B+

Tammy - C+

Rated R, 96 minutes

Entertaining but cliched "Tammy" has McCarthy doing the same schtick

Melissa McCarthy knows what she's good at and does it well. A comedienne with a gift for physical comedy, McCarthy has hit the jackpot with her rough around the edges but honest characters that earned her an Oscar-nomination for "Bridesmaids." Even though McCarthy is adept at all things comedy, she's become typecast in these same roles, and her new enjoyable, crowd-pleasing comedy "Tammy" has some heart amidst its cliches and unoriginality. Midwesterner Tammy (McCarthy) is having a bad day. She’s totaled her clunker car, gotten fired from her thankless job at a greasy burger joint, and instead of finding comfort at home, finds her husband, Greg (Nat Faxon), getting comfortable with the neighbor, Missi (Toni Collette), in her own house. Worse, her grandmother, Pearl (Sarandon), is her only option—with a car, cash, and an itch to see Niagara Falls. Not exactly the escape Tammy had in mind. But on the road, with Pearl riding shotgun, it may be just what Tammy needs. Directed by, and co-written and featuring McCarthy's real husband, Ben Falcone, "Tammy" is another entertaining variation of the hard-nosed roles that McCarthy has become known for. McCarthy and Sarandon make for an enjoyable, if not bittersweet team as the girl and her grandma, both with serious issues (anger, self-esteem, infidelity, alcoholism among them) though McCarthy did this same buddy-buddy road trip thing last year with Jason Bateman in the hit "Identity Thief." Sarandon is a gifted, Oscar-winning actress that even with gray granny wig, can't overcome the fact that maybe she's miscast here, though she and McCarthy do have fun. Most of the stellar supporting cast, including Allison Janney, Dan Aykroyd, Collette, Faxon, Gary Cole and Sandra Oh, are considerably underused, though there are a couple of memorable roles inhabited by the always warm, low-key Mark Duplass and Oscar-winner Kathy Bates, the latter of whom plays a lesbian relative who basically sums up the movie in a line or two: grow up, though that's something we knew from the first frames of the film. "Tammy" is a fine yet hardly revelatory, vehicle for McCarthy (who can still generate some laugh-out loud moments) and her brand of rough, physical comedy, with the script lacking depth given the problems these two have. You've seen "Tammy" before, in just about everything that McCarthy has done preceding it, and while she's certainly good at it, it's high time that she consider branching out to something different.

Wes's Grade: C+