The Zero Theorem - C+

Rated R, 107 minutes

Intriguing yet empty, "The Zero Theorem" searches for the meaning of life

Terry Gilliam has been searching for the meaning of life since his Monty Python days, and it's generally an important of part of all of his films, including "Brazil" and "The Fisher King," and his new film, "The Zero Theorem." It's typical Gilliam with his fantastical style on display, and its non-linear narrative unfocused and a little all over the place. The film stars Oscar-winner Christoph Waltz (with a shaved head and eyebrows) as Qohen Leth, an eccentric and reclusive computer genius working on a formula whether life holds any meaning. In this particular discovery of life, Gilliam and his A-list cast will have you watching for sure, even if you quite grasp all he has to say. The most memorable part of "Zero Theorem," as with most Gilliam's movies, the, colorful spectacle of it all: the anazing sets, gadgetry, makeup and production values are bizarre but first-rate, not to mention a strong cast, with Waltz's believable turn as the plural-talking recluse and computer programmer the film's highlight. David Thewlis also has fun as a joyful, talky co-worker, French actress Melanie Thierry is quite charming as the femme fatale, the always, wonderfully odd Tilda Swinton, and under a blonde wig, Matt Damon as "The Management." Yet, as with most of Gilliam's efforts, "The Zero Theorem," once you strip away its facade, has little left except an uneven, muddled script from first-screenwriter Pat Rushin that seems to grasping for straws as much as Waltz's character is searching for the meaning in and behind life, and the result is a seemingly underlying sadness that may leave you empty. "The Zero Theorem" shows what an intriguing filmmaker Gilliam has always been, even if you don't always understand his fascinating with the search for the meaning of life. At least it's a fun search to watch.

Wes's Grade: C+

To Be Takei - B

Unrated, 93 minutes

Fascinating, fun look at the life of actor George Takei in "To Be Takei"

George Takei

Most know George Takei from his role as Sulu on the original "Star Trek," but he now wears many hats, as entertainer, actor, humorist, writer and activist, and the entertaining new documentary "To Be Takei" explores all those different roles. Over his seven decades,actor and activist Takei has boldly journeyed from a WWII internment camp, to the helm of the starship Enterprise, to the daily news feeds of five million Facebook fans. Join Takei on his playful and profound trek for life, liberty, and love. Directed by Jennifer Kroot, the documentary is loose, fun and fascinating as traces Takei's early life in California, the impact of World War II on his family, his start as an actor and his coming out as a gay man. The focus on Takei's early family life, his distinctive voice and his career are, unsurprisingly, the most interesting part of the documentary, particularly when his pals such as William Shatner, Leonard Nimoy, Nichelle Nichols and even Howard Stern get to weigh in on Takei's life and career. It's also nice learning more about his husband Brad, though those scenes are not as interesting as seeing Takei interact with his large "Star Trek" fan base. The documentary "To Be Takei" doesn't have a lot of purpose or a clear message, except to show how George Takei has evolved into just more than actor, and that's just fine with us.

Wes's Grade: B

The Calling - C+

Rated R, 108 minutes

Sarandon can't save the dull, cliched mystery thriller "The Calling"

The notion of a Christian serial killer is intriguing, though you wouldn't know by the unoriginal new mystery "The Calling," a Canadian film that seems a cross between a humorless "Fargo" and a "CSI" episode mixed with a little bit of "Seven." Even a top-notch cast and a handful of creepy moments can't stop the number of cliches the second-rate script throws at its audience. Detective Hazel Micallef (Susan Sarandon) hasn't had much to worry about in the sleepy town of Port Dundas until a string of gruesome murders in the surrounding countryside brings her face to face with a serial killer driven by a higher calling. "The Calling" Directed by Jason Stone in his feature film debut, "The Calling" is one of those mystery films in which you know who the killer is (played an admittedly creepy actor named Christopher Heyerdahl who had a minor role in the "Twilight" films), so the real suspense is the motive for the killer's crimes, which is unraveled under a load of cliches that even a believable character actress like Sarandon can't save (is it always a given that the killer must drive an old run down American-made car and wear black?); it doesn't help Sarandon is paired with "That 70s Show" Topher Grace, one of the most vanilla of actors who pales next to Sarandon. Likewise, Oscar-winner Sarandon is upstaged by another Oscar-winner, the always lovely Ellen Burstyn, who pops in and out of scenes like she's in a sitcom, and Donald Sutherland is great a talky priest in his very brief screentime, who essentially explains the killer's motive in a few sentences. "Seven" and even the darkly comic "Fargo" did this much better, so you're better off watching either one of those than the mildly absorbing yet bland and unoriginal "The Calling."

Wes's Grade: C+

Cantinflas - C

Rated R, 96 minutes
In Spanish with English subtitles

Enjoyable bio "Cantinflas" barely scratches the surface

Mexican entertainer Cantinflas, also known as Mario Moreno, became a huge star in Mexico in the 1940s and '50s and was recognized as the Mexican Charlie Chaplin. The new biography film "Cantinflas" is often entertaining like the real Cantinflas was though you leave feeling you didn't see much of his personal life. The movie tells the story of Cantinflas (played here by handsome Spanish actor Oscar Jaenada), who from his humble origins on the small stage to the bright lights of Hollywood, became famous around the world - one joke at a time."Cantinflas" is a Mexican production and distributed by Pantelion, the Spanish-Speaking arm of Lionsgate, and the movie finds its way to Spanish-American audiences who may remember the charming Mexican comedian from another generation, best known to American audiences in the 1956 Best Picture winner, "Around the World in 80 Days." The movie focuses on his entertainment career, from his rise as a lowly theater assistant to a Chaplin-esque movie superstar in his native Mexico, and less on his personal life. As fascinating as the "80 Days" production with Mike Todd (played by "The Sopranos" star Michael Imperoli, the only noticeable American actor in this production) was, we care less about Todd's wooing of Elizabeth Taylor, played with striking detail by Uruguayan actress Barbara Mori, than about the creative genius that Cantinflas and his drive to become successful. Jaenada is a solid Cantinflas, capturing some of his looks and moves, but overall the movie "Cantinflas," which seems to have been done on the cheap, leaves you wanting more. Maybe it's time to rent "Around the World in 80 Days" again to see his true talent, which is a better tribute to him than this enjoyable piece of fluff that doesn't do him justice.

Wes's Grade: C

Alive Inside - B

Unrated, 75 minutes

"Alive Inside" an uplifting, touching doc on the power of music

The inspiring, fascinating new documentary "Alive Inside" combines the power of music therapy and helping others with neurological disorders, primarily alzheimer's and dementia. Though limited in some of its scope, it's a powerful reminder of how the simple things can make a difference. This stirring documentary follows social worker Dan Cohen, founder of the nonprofit organization Music & Memory, as he fights against a broken healthcare system to demonstrate music's ability to combat memory loss and restore a deep sense of self to those suffering from it. Directed by Michael Rossato-Bennett, "Alive Inside" is an entertaining, yet thought-provoking portrait of an unconventional therapy that seems to work wonders on patients with brain disorders such as alzheimer's because the part of the brain that processes and remembers things such as music is the last part of the brain to be affected by such diseases. Cohen and his group spend time in retirement centers and other areas passing out iPods to affected patients and then see the wonders it works to briefly transport them to another place mentally, restoring some joys of their previous life. To see a man take off the iPod and then tell his wife he loves her or a patient named Denise with extreme brain disorders become overwhelm with emotion, makes you feel that the therapy does work. But with limited research and a system flux with medication and red tape, it's effectiveness may be short-lived, something that "Alive Inside" fails to explore with much detail. Still, "Alive Inside" is packed with many affecting, moving moments and allows you to be thankful for the simple moments.

Wes's Grade: B

The Discoverers - C

Unrated, 104 minutes

Sporadically funny but tepidly unoriginal "Discoverers"

If you've seen the sharp 2006 film "Little Miss Sunshine," then you've essentially seen the dark independent new comedy "The Discoverers" about a family who hits the road to discover, or re-discover the meaning of life. Washed-up history professor Lewis Birch (Griffin Dunne) takes his begrudging teenage kids - Zoe (Madeleine Martin, "Californication") and Jack ("American Horror Stories") - on a road trip to a conference in hopes of putting his career back on track. But, when Lewis's estranged father Stanley (Stuart Margolin) goes AWOL on a Lewis and Clark historical reenactment trek, Lewis is forced to make a family detour. The Birch family find themselves on a journey of discovery and connection as they make their own passage west. Directed by Justin Schwarz, there are a handful of darkly sweet, compelling moments, but it meanders too much and the characters aren't fully realized, even though it's grounded well by a haggard but charming Griffin Dunne, who looks far different than his "An American Werewolf in London" and "After Hours" days of the 1980s. The middle act in particular is problematic and the ending too predictable, but "The Discoverers" is peppered with a few fun moments, including the always amusing Margolin, in an odd role as the aged father who loses it. The tepid "The Discoverers" doesn't really discover anything new, and it's hardly revelatory, though some may have fun with it. There's just many other films that have done it better.

Wes's Grade: C

Frank - B

Rated R, 95 minutes

Weird, wonderful & oddly affecting "Frank"

Michael Fassbender as Frank

"It's not too weird is it?" asks the title character to another character in the film, who wears a large papier-mâché head in his everyday life. Why yes, it is weird, very weird at times but also delightfully oddball and charming, with some decent tunes too. The movie follows young wannabe musician, Jon (Domhnall Gleeson), who finds himself out of his depth when he joins an avant-garde pop band led by the mysterious and enigmatic Frank (recent Oscar-nominee Michael Fassbender), a musical genius who hides himself inside a large fake head, and his terrifying bandmate Clara (Maggie Gyllenhaal). Directed by acclaimed Lenny Abrahamson, who's directed other offbeat films such as "Garage" and "Adam & Paul," "Frank" is one of unconventional dramedies that seems to come out of nowhere and unexpectedly surprise you by how accustomed you become to having Fassbender wearing a large head throughout the film. He gives an affecting performance too, and strangely he's the most normal in the film, with Gleeson's geek and Gyllenhaal's aggressive ball-buster bandmate more unusual than Frank himself. Sure, there are some darkly funny moments to be had, and it borders on the depressive at times, and while it's certainly unconventional, it's also touching and often very compelling. If you enjoy slightly (well, more than slightly), strange comedic films such as this, then you'll get a kick of it, and it's far more memorable and normal than some of the mainstream dreck out there.

Wes's Grade: B

As Above/So Below - C-

Rated R, 93 minutes

Found footage goes under the Earth in the pointless "As Above/So Below"

When the poster for your movie is the best thing about it, you're in trouble. "As Above/So Below" is the latest found footage horror film that's both aimless and not so scary: call it a cross between "Blair Witch" and "Indiana Jones" (one reviewer even called it "Indiana Bones"). Miles of twisting catacombs lie beneath the streets of Paris, the eternal home to countless souls. When a team of explorers (led by Ben Feldman of "Cloverfield" and Welsh actress Perdita Weeks) ventures into the uncharted maze of bones, they uncover the secret of what this city of the dead was meant to contain. Directed and written by horror film director John Erick Dowdle of "Devil" and "Quarantine," the dullness factor makes this one to skip - if you find people traipsing through some bones and dust just to find some ancient writings very scary - then this might be for you. Silly, contrived and mostly pointless, the jumpy camera movements and stupid decisions (let's keep going!) in "As Above/So Below" don't help its cause, and you'll be waiting the first hour for something even mildly interesting to happen as the crew meanders beneath Paris looking for something - anything - that might be scary. There are some serviceably tense and jumpy/creepy/bloody moments in the last 30 minutes, but it seems to take an eternity to get there, and by then you're not completely sure what's truly happening. Director Dowdle has done better before: his 2010 horror film "Devil" has become a minor cult hit and an enjoyable film for me in my least favorite genre. I didn't care much for "As Above/So Below" not because it's a horror film, but the fact it's a horror film that just isn't that scary. For what it's worth, lovely Welsh actress Weeks seems to resemble Katherine Heigl in some scenes. Yea, I don't like Heigl much either, and similar to the annoying Heigl, the found footage genre has quickly outgrown its welcome. Skip it and find something more satisfying to do this weekend.

Wes's Grade: C-

Yves Saint Laurent - C

Rated R, 110 minutes
In French with English subtitles

"Yves Saint Laurent" an elegant but dull biopic

"Yves Saint Laurent" was an acclaimed fashion icon who left his mark on the fashion world. It's too bad the movie biopic that bears his name is much less memorable. Sumptuously filmed with handsome, slick production value, the French production is mildly interesting for fashionistas but gives little insight into his creative genius. In Paris 1957, 21 year old Yves (suave French actor Pierre Niney) is catapulted to international stardom as the successor to Christian Dior who has recently died. At his first catwalk show he meets Pierre Bergé (Guillaume Gallienne), who will become his lover and business partner, and begins a relationship that will change his life forever. Just a few years later however he's subjected to the public humiliation of being fired. Refusing to succumb to his critics and self-doubt, he creates the Yves Saint Laurent fashion house along with the first-ever 'ready to wear' collection, shocking the world of couture. If you really enjoy fashion, you may enjoy the handsomely dull, slow-moving "Yves Saint Laurent" that is dedicated to a unique legend in the world of fashion, though the film is far more boring than most of what you'll find in the YSL line and won't leave its mark on the cinematic world as Laurent did with his clothing line. The film is a little tedious especially in its initial chapters, and while it shows Laurent's personal flaws, it gives little insight into the creative genius he eventually became. Niney is inspired casting as the young Yves, while French comedian Gallienne, also seen in Sofia Coppola's "Marie Antoinette," is also solid as his partner in love and business, Berge, who is still alive. Cumbersome and often slow as molasses, "Yves Saint Laurent" is a cinematic knockoff, and doesn't do the real YSL, a fashion genius, true justice. It's best to skip this French biopic unless you're really, really into fashion.

Wes's Grade: C

The November Man - C

Rated R, 108 minutes

Entertaining but cliched, spy thriller "The November Man" is nothing new

The bland new spy thriller "The November Man" has all the right ingredients: it's based on a novel series, stars a former "007" and seems peppered with some nice action scenes. While the action set pieces are fun, the predictable story lacks originality and some coherency,  making the movie a serviceable, albeit a tad dull, entry, in the genre. Code named 'The November Man', Peter Devereaux (Pierce Brosnan) is a lethal and highly trained ex-CIA agent, who has been enjoying a quiet life in Switzerland. When Devereaux is lured out of retirement for one last mission, he must protect valuable witness, Alice Fournier, (Olga Kurylenko). He soon uncovers this assignment marks him a target of his former friend and CIA protégé David Mason (Luke Bracey), but realizes there may be a mole within the agency. With the right script, director and star, "The November Man" could've easily become the next "Bourne"-like spy franchise - and it has two of those in "The Bank Job's" Roger Donaldson and handsome (and very game) lead actor Brosnan - but it falters underneath a muddled, cliched script with enough plot holes to make Matt Damon smile: the one last job, the mole, the mysterious young woman etc. With some slick production values, it's not as literate as John le Carre or as smooth as Bond (the film not the character), "The November Man" is grounded well by the aging Brosnan, but it underuses the young Australian actor Bracey, and the not-so-mysterious villain is one of the most tame, milquetoast bad guys seen in some time. "The November Man" starts off well, then peters out by the end, and you're hoping for more (especially for one tough Russian chick in the movie that my friend nicknamed "The Hitler Bee-yatch" for her skill at killing). Mildly entertaining but unoriginal down the stretch, "The November Man" is disappointing, which is unfortunate, because the talented Brosnan deserves better than this, not to mention that it loses some steam by being released in late August.

Wes's Grade: C

The Emmy Awards Recap - C+

Wes's Overall Review: C+
Televised on NBC Monday, August 25, 2014
Host: Seth Meyers

I generally do not review TV shows or awards shows (especially awards shows FOR TV shows, given I watch far more movies), but I thought I'd take a few minutes to review The Emmy Awards, telecast on August 25 on NBC and hosted by "The Late Show's" new host Seth Meyers, formerly of "Saturday Night Live."

I'll be updating with periodic updates throughout the show.

Seth Meyers Monologue - B
Seth is likable, nice and has little edge. Same for his opening monologue, which delivers plenty of smiles and a few laughs, but not out loud ones. He's the male version of Ellen.

Supporting Actor - Comedy Series
Really, Ty Burrell of the aging, unfunny "Modern Family" - again?! Anything that "Modern Family" gets would be a surprise.

Jimmy Kimmel - former host. Funnier than he was as as host 2 years ago.
McConaughey a good sport though.

Supporting Actress - Comedy Series
Yay Allison Janney!! Love her on the show. Best win of the evening so far. And 7 Emmy's!! I was also rooting for one of the Kate's (Mulgrew and McKinnon) but glad Janney emerged victorious.

Lead Actor - Comedy Series
No surprise with Jim Parsons' 4th win. (Was REALLY hoping for Louis C.K. to be honest.) Parsons' is funny though. As is Julia Louis-Dreyfus, who looks amazing. 

Lead Actress - Comedy Series
Julia Louis-Dreyfus. Again. Repeat winners at the Emmy's becomes standard. This may get boring. She looks amazing though!

Billy Eichner's "Man on the Street" bit was hiliarious. One of the better ones tonight.

Speaking of repeat winners...The Amazing Race...again. Yawn. Please throw a few surprises.

Allison Janney - love you. "The Help" sequel comment was priceless. Seth's Q&A bit was not.

Kathy Bates wins Supporting Actress in a Miniseries or Movie for "American Horror Story: Coven." Great actress and I'm sure she's good in it though I don't watch the show.

The Hobbit (Martin Freeman) wins Supporting Actor in a Miniseries or Movie for "Sherlock" again, one of the many shows I didn't see. Maybe it's time to binge?! Benedict Cumberbatch wins for Lead Actor in same category, though it's really a series (while presenters McConaughey and Harrelson are nominated for "True Detective" in the Drama Series category - and that show is really a miniseries - yes, confusing I know).

Another repeat winner in Jessica Lange. Yawn. Brilliant actress though. And sources tell me she's wonderful in "American Horror Story."

Weird Al! Unsure why's he here, guess to keep things funny (though the bit really wasn't that good). Samberg was funny though.

"Fargo" wins Best Miniseries. Guess I need to watch more TV. (time permitting - but I hear "Fargo" is good - I did like the movie.)

Show (overall) and awards so far: C+  - too many repeat winners. Seth is only mildly funny but likable. 

Ricky Gervais' appearance makes me wonder how many former hosts of awards shows have appeared: Amy Poehler, Jimmy Fallon, Gervais, Kimmel (and soon, Billy Crystal) and more...

Sarah Silverman has boobs!

Colbert wins again for variety series. At least it's not Jon Stewart (great, but something like 53 wins in a row was a little much). The best part of his speech was Jimmy Fallon. Nice improvised/planned touch.

Supporting Actor in a Drama Series - Aaron Paul - another repeat winner but a good one from a great series that I've actually seen. (though not all of)

The In Memoriam segment - what everyone was waiting for - was touching and well-handled. Forgot about some of the greats we lost over the last year. Crystal's tribute to his friend Robin Williams was especially funny and touching. Makes me sad all over again for Williams' passing.

Supporting Actor in a Drama Series - the lovely Anna Gunn - ditto same as Paul above.

Lead Actress in a Drama Series - Julianna Margulies - repeat, repeat, repeat...but Margulies is deserved for a solid show (albeit one I don't watch), and she hasn't won in a few years.

Lead Actor in a Drama Series - Bryan Cranston for "Breaking Bad" - not a huge surprise - the "True Detective" guys canceled each other out and threw to Cranston for the final season of "Bad."

Comedy Series - WTH? "Modern Family"? By far the worst winner of the night and the unfunniest of all in that category.

Drama Series -  "Breaking Bad" - a show I like and glad it won. Even if it's...a uhm...repeat winner.

Overall Rating -  C+
Too many repeat winners, some deserved, some not. The Emmy voters are among the laziest, voting for the same shows year after year. "Modern Family," "The Amazing Race" and Jim Parsons I'm looking at you. Seth did a decent, pleasant yet tame job. A likable host but still a boring, often dull show. The "Man on the Street" bit and the Williams tribute the most memorable of the night.

About Alex - C+

Rated R, 96 minutes

Heartfelt but bland "About Alex" holds few surprises

Jason Ritter is Alex in "About Alex"

The engaging, well-acted new dramedy "About Alex" is essentially a millennial version of "The Big Chill" just less revelatory and more predictable. A circle of twenty-something friends (Jason Ritter, Aubrey Plaza, Max Greenfield, Nate Parker, Max Minghella, Jane Levy and Maggie Grace) reunite for a weekend away after one of them suffers an emotional breakdown and suicide attempt, opening up a load of emotions and differences that threaten their relationships. Written and directed by Jesse Zwick in his feature film debut, the ensemble dramedy "About Alex" is an appealing but bland ensemble comedy for twenty or even thirtysomethings that won't hold much excitement or satisfaction in the end. It's well-acted by a group of familiar faces, with "New Girl's" Greenfield (in the douch bag/Jeff Goldblum "Chill" role) and "Parks and Recreation" Plaza (one of my favorite actresses) stealing most of the scenes with the best lines, and even though the movie is about him, Ritter's Alex is the most vanilla of this group. It's all handled serviceably by Zwick, though the plotting holds few surprises and it doesn't feel real life (beginning with the fact that if you can get more than one 20 or 30-something to actually clear their schedule for an extended weekend like this - good luck), especially when they decide to light up mid-film, and what comes after, in "Big Chill"-esque form. Likable, well-acted and with a few absorbing scenes, "About Alex" isn't terrible, but it isn't terribly original or genuine, either.

Wes's Grade: C+

The Trip to Italy - B

Unrated, 108 minutes

The deliciously witty "The Trip to Italy" takes another fun restaurant tour

The amusing 2010 British film/TV series "The Trip" took two popular British comedians and actors Steve Coogan and Rob Brydon and took them on an entertaining road trip of England's best restaurants. In charming, incisive follow-up, "The Trip to Italy" the pair, playing semi-fictionalized versions of themselves, take a new culinary road trip through Italy, retracing the steps of the Romantic poets' grand tour and indulging in some sparkling banter and impersonation-offs. Directed by Michael Winterbottom and co-written by Winterbottom, Coogan and Brydon, the witty, loose "The Trip to Italy," like the first film, is the hit BBC series edited into a feature film. Aside from the delectable Italian dishes served throughout the film, the chief highlight is the lively banter between the two talented actors; the film is essentially a series of hilarious (and largely improvised) conversations between the two, with their impersonations the funniest (their Michael Caine is among my favorites). If you enjoyed the first film, you'll enjoy this one too, though admittedly there isn't much to it, and you can rent the full series (both the 2010 one and this one too), but it's still a warm, pleasant extension of more of the same "Trip." Handsomely filmed and wittily executed, after you see "The Trip to Italy" you'll likely want to take your own trip to Italy, or if you're like me, settle for a big plate of spaghetti.

Wes's Grade: B

The Prince - C-

Rated R, 91 minutes

Crime drama "The Prince" an unexciting "Taken" ripoff

The derivative, third-rate new crime drama "The Prince" is peppered with a handful of compelling moments thanks to a decent cast, but it's really just a low-budget "Taken"-style ripoff. A retired New Orleans crime boss and widowed father (Jason Patric) is forced to team up with his best friend (John Cusack) to return to the crime world when his daughter is kidnapped by an old rival (Bruce Willis). Directed by Brian A. Miller, whose credits include mostly straight-to-video, lower budgeted movies such as "The Outsider" and "Officer Down," "The Prince" is a little better than those previous efforts, only because of its cast, though Willis (in what could be a serious version of his "Whole Nine Yards" role) and Cusack in particular have minimal screen time considering their billing. Patric has become typecast in these roles since the 90s in one of his better films, "Rush" and it's difficult to see a talented actor slumming in dreck like this (even worse, is Curtis "50 Cent" Jackson, in a blink-your-gone cameo mid-film). The plot lacks the energy and excitement of the film it's most like - "Taken" - except without the gravitas of Liam Neeson, and a bigger budget. I wanted to see more of Cusack, whom I really like, but instead we're treated to Patric in lots of chases, gun fights and doing the usual rough-and-tumble  thing, hardly revelatory or new. One good thing about the film, it does have South Korean actor Rain in a small role as Willis' high-kicking assistant, who was in a cool, fun film called "Ninja Assassin" a few years ago. Come to think of it, I'll just watch that again, and I know it'll be much more exciting than "The Prince." Don't bother with this movie.

Wes's Grade: C-

The One I Love - B

Rated R, 91 minutes

Creepy, original, witty "The One I Love" takes a different look at love

'The One I Love" is an unconventional, even subversive and well-acted look at love. Fans of "The Twilight Zone" may enjoy some of the fun, slightly creepy twists on love that may have you eagerly awaiting what happens next. On the brink of separation, Ethan (Mark Duplass) and Sophie (Elisabeth Moss) escape to a beautiful vacation house for a weekend getaway in an attempt to save their marriage. What begins as a romantic and fun retreat soon becomes surreal, when an unexpected discovery forces the two to examine themselves, their relationship, and their future. Directed by Charlie McDowell in an assured feature film directorial debut, "The One I Love" is a superbly-acted, smart dramedy that explores the conventions of marriage with an odd twist. It's essentially a leisurely, talky two-person film (or to clarify, a two-actor film), grounded by the strong, believable performances from "Safety Not Guaranteed's" Duplass (who also co-produced) and "Mad Men's" Moss, both of whom add texture and humor to Justin Lader's witty script, which is better in its initial segments than its darker second half. Without giving too much of the plot away, it's this twist that somehow (and quite strangely) makes their marriage better; who knew that a simple retreat would do just that, though this isn't just any retreat, but one that helps them discover who they really love. "The One I Love" may be too weird and talky for some, and admittedly does take awhile to buy into the odd premise, but seeing ourselves in a different light often makes us better people. That's the beauty and the fun of the dramedy "The One I Love," a satisfying, if not, highly unconventional and a little creepy, look at love and marriage.

Wes's Grade: B

Are You Here - C

Rated R, 114 minutes

Charming, thin "Are You Here" is only mildly funny

The new comedy "Are You Here" is a film loaded with talent in front of and behind the camera yet still ends up grounded in sporadic laughs and mediocrity. When his off-the-grid best buddy Ben Baker (Zach Galifianakis) inherits his estranged father's fortune, womanizing local weatherman Steve Dallas (Owen Wilson) joins forces with him to battle the legal challenge brought by Ben's formidable sister (Amy Poehler). Directed and written by "Mad Men's" Matthew Weiner in his feature film debut, "Are You Here" is charmingly familiar, slightly odd, and not as near as funny as it should be considering its director and A-list talent. It's heavy on the one-liners, especially from Wilson, though the bland story (when in doubt, always smoke pot - Wilson spends most of the movie stoned) and one-dimensional characters don't add up to much; all three leads also seem typecast: Wilson and Galifianakis as the fun, immature slackers, while "Park and Recreation's" Poehler (especially unsympathetic here) as the uptight witch causing problems for everyone. Galifianakis' part is so similar to his Alan role from "The Hangover" films you expect Bradley Cooper and Ed Helms to show up to cart him off, while Poehler is just annoyingly unlikable. The overlong "Here" isn't really there, and this incoherency is rather unfortunate, given how sharp and smart Weiner's "Mad Men" but it's also no surprise this didn't get a wide release, either. Aside from a few memorable Wilson one-liners, "Are You Here" is a largely unfunny, unmemorable comedy that won't rank as the best for anyone involved.
  
Wes's Grade: C

Sin City: A Dame to Kill For - C

Rated R, 102 minutes

At least "Sin City: A Dame to Kill For" is fun to look at

Frank Miller is a gifted comic book artist, with "300" and the "Sin City" series to his credit, so it's unfortunate that some of his visually stunning works don't always translate well to the big screen. The crime drama "Sin City: A Dame to Kill For" is one of those efforts that falters, a follow-up to the successful 2005 neo-action crime film "Sin City," a groundbreaking film in terms of its striking colors and stylized visuals, and many of the cast members from that film appear here too, including Mickey Rourke, Bruce Willis, Jessica Alba, Powers Booth and Rosario Dawson, while some new ones appear too, including Stacy Keach, Joseph Gordon-Levitt and Ava Green, while others such as Dennis Haysbert and Josh Brolin replace actors from the first film. Modestly entertaining and dripping with style and an intriguing fakery, the colorful visuals are about all "Sin City: A Dame to Kill For" has going for it, everything else is a bit of a mess; like its predecessor, the weak storytelling hampers what could've been a great movie. Co-directed by Miller and Robert Rodriguez with a screenplay by Miller, it's based on two of "Sin City's" stories with a couple of new ones: "Just Another Saturday Night"; "The Long Bad Night"; "A Dame to Kill For" and "Nancy's Last Dance" are the four intersecting stories told here, with the film getting worse as it goes along, with "A Dame to Kill For" probably the weakest of the four, primarily due to the fact that it needs a stronger actress than Green - say like Angelina Jolie - (Rodriguez's first choice) to carry it. The last, "Nancy's Last Dance" is hurt by the fact that it relies heavily on the questionable acting skills of a bad actress like Alba to carry it. Designed as sort of a prequel to "Sin City," none of it makes much sense, especially if you're not a fan of Miller's work or the first film (which would be me). I was a little distracted by some of the inconsistencies in "A Dame to Kill For," such as why only Rourke wears heavy makeup; why Brolin's character drives a '65 Ford Mustang compared to all the other 1940s vehicles and why Alba's character looks, sounds and dresses much more modern than any of the other women in the film.  There's plenty of violence in "A Dame to Kill For" (though much of it stylized) along with an unnecessary amount of nudity to keep you engaged, given that the story, based on Miller's novels, is about as ridiculous as they come (though maybe that's the point). Admittedly, the visuals are dazzling from start to finish, making "Sin City: A Dame to Kill For" mildly enjoyable, but it's also one of the dumbest, best-looking films I've seen since the first "Sin City." A saying in the South about a person lacking common sense goes "he doesn't have a lick of sense about him," which also applies to the stylized but vapid "Sin City: A Dame to Kill For." Not a lick of sense about it, but it's at least it's fun to watch.

Wes's Grade: C

If I Stay - C

Rated PG-13, 106 minutes

Compelling but uneven "If I Stay" channels familiar YA themes

If you enjoyed this summer's previous compelling Young Adult hit "The Fault in Our Stars," then you'll also enjoy the well-acted, melancholic yet uneven new YA-driven movie "If I Stay." Like "Fault," it's based on a best-selling YA novel featuring an appealing lead actress and touches on themes of love, loss, death and family. Talented teenager Mia Hall ("Kick-Ass'" Chloë Grace Moretz) is an aspiring classical musician with sights of Juilliard ahead, that is until she meets older rock musician Adam (Jamie Blackley), who sets her sights on a different path. However, a carefree family drive changes everything instantly, and now her own life hangs in the balance. Caught between life and death for one revealing day, Mia has only one decision left, which will not only decide her future but her ultimate fate. Directed by R.J. Cutler ("The War Room") and based on the best-selling Young Adult novel of the same name by Gayle Forman, it's a sentimental and poignant chick flick for the younger crowd and one of the better efforts directed at that crowd; while it's certainly not the emotional powerhouse that "Fault" was, you should still plan on bringing plenty of tissues with you, particularly in the overly sentimental last act. Much of "If I Stay," like the novel, is told through flashback, a technique that's better suited for novels than it is in film, and the film's back-and-forth provide an uneven flow, especially in its initial segments. The less effective, downbeat out-of-body scenes should've been minimized with more emphasis on the flashbacks, since they contain the real heart of the story, though there's one bedside monologue near the end with veteran actor Stacy Keach as Grandpa, who has the film's most touching (i.e. tear-draining) scene. The likable Moretz, who will be seen in several more films before year's end, gives a compelling performance that further cements her road to stardom, but she's well-supported by the handsome Blackley, Keach and as her fun-loving parents, Mirielle Enos (TV's "The Killing") and Joshua Leonard of "Humpday" and "The Blair Witch Project" fame. If you've read the book (or not), I won't spoil it here, but the touching, slow-moving and contrived "If I Stay" may make for a solid end-of-summer/back-to-school efforts and will encourage you to buy more tissues.

Wes's Grade: C

When the Game Stands Tall - C+

Rated PG, 115 minutes

This inspiring "Game" follows an all-too familiar formula

The game may stand tall, but the movie doesn't. There's no doubting that the real story of legendary California high school coach Bob Ladouceur is an inspiring one, after all he took his team to an unmatched winning streak in all of sports, he just needs a better one than "When the Game Stands Tall." Well-cast and peppered with a few compelling moments, the formula is so well-worn and predictable you may know the outcome well before the end of the movie. The movie tells the inspiring story of high school football coach Ladouceur (played by "Person of Interest's" Jim Caviezel), who along with his assistant coach Terry Eidson (Michael Chiklis of "The Shield") and the support of his wife Bev (Laura Dern), took the De La Salle High School Spartans from obscurity to a 151-game winning streak over 20 years. When the streak is broken, he must teach his players the true meaning of sportsmanship and life. Directed by Thomas Carter, who handled another real-life sports film, "Coach Carter," with Samuel L. Jackson, "When the Game Stands Tall" is a crowd-pleasing film, designed for those looking for a little inspiration. There's nothing wrong with that, except this "Game," which is based on a 2003 novel of the same name by Neil Hayes, is filled with all-too familiar sports movie cliches: endless training montages, uplifting speeches about life, tragedies and of course, many great last-second plays that seem to only happen in movies. It also seems a little limited in scope, focusing only on a single season and a couple of games that were lost (albeit they did break the streak) and lacking the passion or excitement that comes with these types of movies. Caviezel is serviceable as Ladocuceur (who has since retired and also cameos in the film as an assistant) though he seems too passive when more energy is needed, yet in contrast those well-constructed football games add some texture to the movie. Unlike the empty but pleasantly uplifting "When the Game Stands Tall," Bob Ladocuceur was an amazing coach who left his mark on the game, and this one real story that was much more inspiring than the movie itself.

Wes's Grade: C+

What If - B

Rated PG-13, 102 minutes

Hip and charming "What if" mines the familiar idea of friends and (as) lovers

"What if" is 2014's hip, cloying rom com answer to the familiar question: can you be best friends and lovers too? Smart, well-acted and utterly charming, it's hardly anything new and mines similiar territory as 2009's hit "500 Days of Summer," but it's hard not to like. Medical school dropout Wallace (Daniel Radcliffe) has been repeatedly burned by bad relationships and decides to put his love life on hold. He then meets Chantry (Zoe Kazan) an animator who lives with her longtime boyfriend Ben (Rafe Spall). Wallace and Chantry form an instant connection, striking up a close friendship. There's no denying the chemistry between the two, leading them to wonder, what if the love of your life is actually your best friend? "What if" is a Canadian film from Canadian director Michael Dowse ("Take Me Home Tonight") that's an enjoyable, quirky indie rom com with two very likable leads in "Harry Potter's" Radcliffe and Kazan. It's overly familiar and often a little too self-aware for it's own good, but you'll still leave with a smile on your face. Kazan, in a witty performance, will likely steal your heart in the same vein of Meg Ryan, while Radcliffe continues to impress in some smart post-"Potter" film choices. Adam Driver, the Emmy-nominated actor from HBO's "Girls," nearly steals the movie from the leads as one of Wallace's college pals, and he's as smart and handsome as the film itself (and you'll be seeing plenty more of him in numerous film over the next couple of years, including the new "Star Wars" update). Sure, you've seen "What if" before and you're likely to predict the climax well before you get there, but it's so darn charming you may not mind. Worth a look for rom com and Radcliffe's "Potter" fanbase.

Wes's Grade: B

Calvary - B

Unrated, 101 minutes

Dark, well-acted Irish dramedy "Calvary" deals with weighty subjects

The new Irish independent drama "Calvary" is dark, well-acted and thought-provoking, but also not for everyone. The provocative premise is handsomely photographed and sublimely executed against tragic circumstances. Irish priest James (Brendan Gleeson) is a good priest who is faced with sinister and troubling circumstances brought about by a mysterious member of his parish. Although he continues to comfort his own fragile daughter (Kelly Reilly) and reach out to help members of his church with their various scurrilous moral - and often comic - problems, he feels sinister and troubling forces closing in and is forced to courageously deal with his own looming Calvary. Directed and written by Irish filmmaker John Michael McDonagh, he and Gleeson, his star from his 2009 hilarious comedy "The Guard" reteam to bring a heavily weighted, dark film peppered with some funny moments, in an effort that manages to both condemn the Catholic Church yet embrace the very faith behind it. You have a sense of where it might tragically end up, but "Calvary" is often a fascinating look at both the fragility and peace that life can offer. Gleeson, a terrific character actor seen in varied roles from "The Guard" to a few of the "Harry Potter" movies, is a solid anchor for the film and his inspired performance is the film's chief highlight. "Calvary" doesn't work perfectly: it's a film that moves slowly and is filled with dialogue you must keep track of throughout the film, and the climax could've been better handled, but there's more that works than doesn't. As mentioned earlier, it's a darker film than you might expect and it's certainly not for everyone (it isn't graphic), but "Calvary" is a satisfying (though not entirely enjoyable) experience.

Wes's Grade: B

The Giver - C

Rated PG-13, 100 minutes

Intriguing, handsome "The Giver" bland and boring

In the new sci-fi drama "The Giver" there's a place known as Elsewhere, where people are sent who can't abide by the rules. After (or perhaps while) seeing it, you may want to be elsewhere. Based on Lois Lowry best-selling 1993 young adult novel of the same name, the premise is intriguing and the visuals are impressive, but it only seems to skim the surface of the issues that Lowry delved into with more depth. In a perfectly engineered world where there is no conflict, racism or sickness, every member of society has a specific role, 16-year old Jonas (handsome Australian newcomer Brenton Thwaites, seen recently in "Maleficent") is selected to be the Receiver of Memory. He is transferred with memories of the past from his teacher, The Giver (Jeff Bridges, who also produced). As Jonas uncovers the truth behind his world's past, he discovers that many years earlier, his forefathers (including Meryl Streep as The Chief Elder) gave up humanity in order to have a stable society. Directed with visual grace by "Salt's" Philip Noyce, the dystopian-themed "The Giver" is handsomely filmed but has a watered-down, vacuous feel to it, likely to appeal to the younger set, who will be caught up in the love triangle, some of the colorful visuals and pop star Taylor Swift in a tiny role. Thwaites in particular is handsome but lacks the acting skills to carry the film, and he pales in particular next to Oscar-winners Streep and Bridges, both of whom try to infuse the film with some energy, though Streep's role is smaller than you might expect and Bridges relies too much on his hammy antics to make you watch). Ironically, the themes of "sameness" and individuality are explored with little depth and a blandness that makes "The Giver" seem like it's copying the similarily-themed "Divergent," a novel that interestingly came after "The Giver," which was a huge literary success upon its release, paving the way for more novels like "Divergent." "The Giver" has some nice visuals and a handful of compelling moments, but even the target audience may be bored with it after awhile. "The Giver," in spite of its visuals and talented cast, is an intriguing failure.

Wes's Grade: C

The Expendables 3 - C-

Rated PG-13, 127 minutes

Mildly entertaining "Expendables" as old and tired as its stars

Sylvester Stallone has a way with formulas, as in taking them and running them into the ground. He did it with the popular "Rocky" series and is now following suit with "The Expendables" franchise. The latest offering, "The Expendables 3" is certainly not devoid of action or the gazillion familiar faces who appear in it, but it's as old, tiresome and washed up as many of them who appear here, not to mention big, loud and dumb, though that is to be expected. In this outing, Barney (Stallone), Christmas (Jason Statham) and the rest of the team come face-to-face with Conrad Stonebanks (Mel Gibson), who years ago co-founded The Expendables with Barney. Stonebanks has became a ruthless arms trader and someone who Barney is forced to go head-to-head with once more, using resources old and new. Directed by newcomer Patrick Hughes and co-written and produced by Stallone, "The Expendables 3" is the epitome of excessive, silly action flicks; while it's certainly not dull, it's overlong, mindless and filled with too many over-the-hill actors fighting for screen time. The standout of the large ensemble cast is Gibson, whose crazy persona comes in handy as the chief baddie, who has the best lines (he refers to The Expendables as "The Deletables") and seems the only one truly having fun. Wesley Snipes and Antonio Banderas are also decent additions, with Banderas providing some comic relief as the talkiest Expendable yet, and oh yea, Harrison Ford is also on board to replace Bruce Willis, who Stallone fired for asking for too much money, a silly footnote given the movie's $100 million-plus budget, so what's a few mill more. Speaking of silly, there are two primary reasons "Expendables 3" is less effective than some in this genre: the first, unsurprisingly, is due to Stallone (who along with Schwarznegger, looks really, really...old) taking this way, way too seriously; with more tongue-in-cheek humor and less of the earnest shouting and grimaces he calls acting, this could've gone down a little easier. Second, unlike the previous two installments and perhaps to appeal to a wider audience, this is Rated PG-13. The gratuitous violence is toned down (and admittedly - with those big knives that Snipes carries - that rating is often pushed to the limit), which is what made the other two films work well with its preposterous premise; now the mostly bloodless violence feels bland and generic, much like everything else in the movie. "The Expendables 3" isn't boring (but at 127 minutes, still too long) and is best when it doesn't take itself too seriously, which is usually anytime Gibson is onscreen. Stallone, we're really talking about you here, but given the talent involved, it could've been much more fun.

Wes's Grade: C-

Let's Be Cops - C+

Rated R, 109 minutes

Not much to it, but the laughs in "Let's Be Cops" aren't fake

I will for sure be in the minority with the engaging new buddy-buddy formula comedy "Let's Be Cops" but sometimes a silly movie comes along that will be your personal cult favorite that you can watch more than once for some cheap laughs. Yes, the plot is thin, dumb and generally ridiculous, but I found myself laughing quite a bit. It's the ultimate buddy cop movie except for one thing: they're not cops. When two struggling pals ("New Girl's" Jake Johnson and "Happy Endings'" Damon Wayans, Jr., who could easily be his comedian dad's twin) dress as police officers for a costume party, they become neighborhood sensations. But when these newly-minted "heroes" get tangled in a real life web of mobsters and dirty detectives, they must put their fake badges on the line. Directed and written by Luke Greenfield, who produced another of my personal cult favorites, "Role Models," "Let's Be Cops" is mindless, exceedingly silly and often unoriginal fun that's a cross between last summer's hit "The Heat" and the "Lethal Weapon" films, in reverse. You know where's it's going but you'll still laugh anyway, and there are a couple of scenes with Wayans (who's hilarious here as the semi-straight guy to Johnson's loose cannon) that still make me chuckle, including one when he gets in the middle of a girl catfight. Also, the movie is nearly stolen by "Keegan and Peele's" Keegan Michael-Key, as a stoner who ends up providing some unlikely help (if they make a sequel, I hope he has a bigger part); he is one of the film's funnier highlights in a movie that has many. On a refreshing note, I was pleasantly surprised by how funny "Let's Be Cops" is as well as the fact it's not as raunchy as you might think; also Andy Garcia is a nice touch though he's surprisingly underused in a brief role. Yes, the movie has flaws: the script's predictability and thin premise, immature drug humor and penchant for the word "dude" every other line, but the laughs aren't pretend, and you'll likely enjoy "Let's Be Cops" more than you're willing to admit.

Wes's Grade: C+

Cabin Fever: Patient Zero - C-

Unrated, 91 minutes

Gory but unmemorable horror sequel "Cabin Fever: Patient Zero"

The original "Cabin Zero" was a darkly funny, bloody horror film about a flesh-eating virus from horror master and occasional actor Eli Roth (director of "Hostel", actor most memorable in "Inglourious Basterds") that made it's debut 11 years ago. Though flawed, it became a modest box-office hit and a cult favorite, inspiring a sequel in 2009 and now this prequel, which tells how the virus started. If you're a fan of this film series or gory films in particular, this might be for you as there's a handful of decent gory moments, but otherwise it's bland, uninspired and takes itself far too seriously. When four friends (Ryan Donowho, Jillian Murray, Brando Eaton and Mitch Ryan) on a bachelor party boat ride step foot on the island, two of them are infected by swimming in the contaminated water. Searching for help, they make their way to the science lab but find everyone inside infected or dead, except for Porter (Sean Astin), on whom some deadly experiments were being conducted. The surviving friends and Porter try to find their way back to safety before the virus gets to them. Directed by Canadian comic book artist Kaare Andrews, "Cabin Fever: Patient Zero" has a few serviceable bloody moments (there's one particularly gory sex scene) at the hands of the flesh-eating virus, but like many horror films the original film tried to not be like, it's too reliant on the gore and not enough on genuine thrills or dark humor to make it a serviceable entry in the genre. It's also hard to believe that the one actor of note here, Astin of "Lord of the Rings" fame, has been relegated to acting in junk such as this; he seems to be slumming it for a paycheck, even if it's nice seeing him (albeit mostly covered in a lot of blood). The gore may be enough for some, but a halfway believable story and characters not filled with holes and other contrivances would've been nice too, but "Patient Zero" is sorely lacking in them - not to mention decent lighting and photography - though the makeup crew certainly appears to have had a blast. Not tremendously horrible, but it could've used a better filmmaker like Roth at the helm, who likely (and understandably, if he's seen the final product) didn't want much to do with this.

Wes's Grade: C-

Step Up: All In - C-

Rated PG-13, 112 minutes

The energetic but clumsy "Step Up: All In" is strictly for its fans

The "Step Up" film franchise began in 2006 with a then-unknown named Channing Tatum, who has since gone on to supestardom, while dance films continue to make money for its happy producers, one of whom is the well-known Adam Shankman of "Hairspray" and "Rock of Ages" fame. "Step Up: All In" is sort of an "all-stars" version in the series, yet much like the previous four installments, the dancing is dazzling, everything in between such as story and characters, are stiffer and clumsier than anything Kate Gosselin or Kirstie Alley could put together on "Dancing With the Stars." All-stars from previous "Step Up" films (including Ryan Guzman from "Step Up Revolution," Briana Evigan from Step Up 2: The Streets and Ryan Sevani as "Moose" who has appeared in all but the first film) come together in glittering Las Vegas, battling for a victory that could define their dreams and their careers. If you're a fan of this film series and maybe a fan of the TV show "So You Think You Can Dance," then you're the one most likely to get a kick out of this film, while the rest of the non-dancing population won't see the appeal. The "Step Up" series in itself is an unlikely film franchise that just won't die, with die-hard fans who tend to come out regardless of when critics like me will likely trash the film. However, these films aren't made for people like me, they're made for the fans, and admittedly, the dance scenes pop with energy and excitement, and it's nice seeing the immensely likable Sevani, who has been this film franchise's saving grace, back in the saddle again. Forget about plot, story, characters and real life because you're likely not to find it here but then that shouldn't matter anyway. As Sevani (Moose) himself says midway through the film: "Does it always have to end in a big dance-off?" Why yes, yes it does, Moose, and "Step Up: All In" has plenty of those big dance-off's, and fans of the "Step Up" series will walk away happy until "Step Up 6: The Final Battle" arrives in a couple of years. If you're a fan of these types of movies, go for it. Otherwise, "Guardians of the Galaxy" is still in wide release.

Wes's Grade: C-

The Hundred-Foot Journey - B

Rated PG, 122 minutes

Charmingly predictable, "Hundred-Foot Journey" is still well-seasoned

Everyone loves a good underdog story, and when paired with delectable food, you seemingly can't go wrong. The plodding but pleasant and well-acted "The Hundred-Foot Journey" should please those looking for a good story, though watch out: it's likely (much like the similarly-themed "Chef") to make you hungry. Hassan Kadam (played by Manish Dayal) and his family are displaced from their native India. They settle in a small French town to open a restaurant, but once the ice-queen proprietress of the French restaurant across the street, Madame Mallory (played by Helen Mirren), catches wind of it, she gives them hell. Directed by Lasse Hallstrom ("Safe Haven," "Choclat"),"The Hundred-Foot Journey" is a charmingly calculated and modestly entertaining story that should appeal to foodies and non-foodies alike. The metaphors between food and life are a little simplistic and obvious (follow your heart, savor the moments etc.), but the film is so darn likable you'll walk away with a big smile and a growling stomach. Oscar-winner Mirren is as usual, stellar, in a surprisingly unsympathetic (and largely supporting, given her place in the ads for the film) role, and the film is ably carried by two unknowns, American TV actor Dayal and lovely French actress Charlotte Le Bon (seen in the recent bio pic "Yves Saint Laurent"), who are enchanting as the two rivals who also become lovers. Lovingly photographed on location in France and energetically scored by Oscar-winner A.R. Rahman of "Slumdog Millionaire" fame, "The Hundred-Foot Journey" is as pleasant and nice as those scrumptious Indian dishes that are whipped up in the film, which are as memorable as any of the performances in the film. You have a sense you know where this "Journey" will end up, but you can still savor the pleasant aroma of the film while it lasts. A predictable but enjoyable late-summer entry at the box-office, just eat before (and perhaps after) you see the movie.

Wes's Grade: B

Magic in the Moonlight - C

Rated PG-13, 97 minutes

Don't be fooled by Woody's latest: the pleasantly thin "Magic in the Moonlight

Prolific and acclaimed filmmaker Woody Allen churns out at least one film a year, and the last couple of years have mostly been magical, with his films "Midnight in Paris" and "Blue Jasmine" taking home Oscars for Allen's script and acting for Cate Blanchett's revelatory performance in "Jasmine." He isn't as lucky with his latest uneven but charming comedy "Magic in the Moonlight," which in spite of its likable performances, feels slight and forced.  Chinese conjuror Wei Ling Soo is a celebrated magician of his age, but real life is Stanley Crawford (Colin Firth), a grouchy and arrogant Englishman with a sky-high opinion of himself and an aversion to phony spiritualists' claims. On vacation, he tries to fool the alluring young clairvoyant Sophie Baker (Emma Stone) and her mother (Marcia Gay Harden) and the two somehow end up falling love. Directed and written by Allen, "Magic in the Moonlight" lacks the magic and enchantment of "Midnight in Paris" and is one of Allen's lesser efforts in his extensive catalogue. He certainly has a stellar cast to work with, and Oscar-winner Firth is great as the grouchy magician who meets his match in the lovely Stone, who is pleasant but miscast here (she's too young as a romantic interest for Firth). Being a period piece, the classic instrumental score, the sets and the costumes are all impeccable, and Allen continues to amaze technically as a filmmaker. However, the story is thin, uninvolving and only sporadically funny and the pleasant "Magic in the Moonlight," which is part comedy and part semi-fantasy, fails to find satisfaction in a rather paltry climax. I liked it, and while it's not as good or as funny as some of Allen's previous works, even mediocre Allen is still better than many filmmakers today.

Wes's Grade: C

Into the Storm - C

Rated PG-13, 89 minutes

If you enjoy big (CG) storms, then throw yourself "Into the Storm"

Sarah Wayne Callies

Not to disappoint you, but Ian Ziering and those sharks from "Sharknado" do not cameo in the new action storm thriller "Into the Storm," a mildly entertaining "Twister" knockoff updated with the overused "found footage" premise that finds itself in so many movies today, but their presence would've probably made it more fun. The intensity of tornadoes is enjoyable, but everything in between is far less sturdy. In the span of a single day, the midwestern town of Silverton is ravaged by an unprecedented onslaught of tornadoes. The entire town is at the mercy of the erratic and deadly cyclones, even as storm trackers predict the worst is yet to come. Seen through the eyes and lenses of a brave few storm chasers and townspeople, it will show Mother Nature at her worst. Directed by Steven Quale ("Final Destination 5") and written by John Swetnam (writer of another film opening this week, "Step Up: All In"), the  strong CG visuals are palpable as they wreak havoc on the small town, but the cardboard characters and plotting are so weak the tornadoes blow them off course quickly, even with a largely unknown but talented cast: the lovely Sarah Wayne Callies (pictured above), best known from TV's "The Walking Dead" and British actor Richard Armitage from "The Hobbit" movies. The unoriginal storm chaser plot was used to better effect in the flawed but energetic 90's blockbuster "Twister," while the found-footage style premise is just downright annoying and often ridiculous, with a camera always in reach at pivotal moments; it's also rather useless to introduce us to the names of these characters when we don't care much about their lack of common sense (I'm being swept up in a tornado but I still need my camera!) or their inane ability to get that close to the twister and remained mostly unscathed. Thankfully, those huge tornadoes steal the show in "Into the Storm" as they're unleashed in considerable CG fury toward the townspeople, the cameras and the audience, providing much more satisfaction and less contrivance than the dumb story or people who inhabit it. Don't get me wrong, the silly "Sharknado" movies are about as stupid (and in a weird way, a lot of fun) as they get, but at least they don't take themselves as seriously as "Into the Storm" does, whose main lesson for its audience is: as long as you have a camera handy to film it all, everything will be just fine, right? If you're into it, go for it. If not, rent "Twister" for a better storm.

Wes's Grade: C

Teenage Mutant Ninja Turtles - D

The Ninja Turtles are back!

Rated PG-13, 101 minutes

"TMNT" hollow, dumb action movie with Bay's influence

Dude, really. These aren't your Dad's Teenage Mutant Ninja Turtles, and I don't mean that in a good way. The new action reboot "Teenage Mutant Ninja Turtles" is filled with a hollow energy, paint-by-numbers story and characters and is produced by "Transformers" titan Michael Bay, who casts a tall shadow over what has to be one of the dumbest family movies seen in some time. Darkness has settled over New York City as Shredder and his evil Foot Clan have an iron grip on everything from the police to the politicians. The future is grim until four unlikely outcast brothers rise from the sewers and discover their destiny as Teenage Mutant Ninja Turtles. The Turtles must work with fearless reporter April O'Neil (Megan Fox) and her wise-cracking cameraman Vern Fenwick (Will Arnett) to save the city and unravel Shredder's diabolical plan. Directed by Jonathan Liebesman ("Wrath of the Titans"), this "TMNT," based on the Peter Laird original characters, lacks the spunk of the original series and has been given an earnest muscularity and mindless energy that feels dumbed down for a film geared for the young set; given the amount of pointless violence, it's all rather troubling, but unsurprising given Bay's involvement. Sure, the visuals and action do pop with energy, but outside of that, there's little going for it: an unoriginal story, cardboard characters and third-rate acting, wasting the talents of the lovely Fox, deserving of a Razzie-award nomination for her awful performance here, as well as solid character actor William Fichtner ("Prison Break"), playing a villain here. Worst of all is the generic storytelling an overly earnest tone that leaves it bereft of some the spirit and tongue-in-cheek humor of the original Turtles, which leaves it a shell of its former "TMNT" self. What you will find is Bay's obvious influence: a bad robot, lots of explosions, one real big car chase: in other words, loads of stupidity and a movie taking itself far, far too seriously. The original "TMNT" was all about fun, this "TMNT" seems intent on making considerable noise ala "Transformers" and sadly, many will buy into this. Even with decent box-office returns likely fueled by thirtysomething parents reliving their childhood, "TMNT" only underscores what a weak summer this has been for children's movies. My advice to families: stay home, rent any Pixar film, and you'll find much greater satisfaction than this dreck.

Wes's Grade: D

Guardians of the Galaxy - B

Rated PG-13, 121 minutes

Action-packed "Guardians" a solid thrill ride

Chris Pratt as Peter Quill

The summer of 2014 hasn't been cinematically top-notch, in terms of both quality and box-office, but that may change with the arrival of the latest Marvel Comics film and thrill ride "Guardians of the Galaxy" and a distant cousin to "The Avengers" series. The ambitious film, filled with many characters and plot points that only fans of the comic books will truly understand, to those of us non-comic book fans it's still an enjoyable, often funny ride. "Guardians" is about brash adventurer Peter Quill (a bulked-up Chris Pratt) finds himself the object of an unrelenting bounty hunt after stealing a mysterious orb coveted by Ronan (Lee Pace), a powerful villain with ambitions that threaten the entire universe. Quill is forced into an uneasy truce with a quartet of disparate misfits-Rocket (voiced by Bradley Cooper), a gun-toting raccoon, Groot (voiced by Vin Diesel), a tree-like humanoid, the deadly and enigmatic Gamora (Zoe Saldana) and the revenge-driven Drax the Destroyer (Dave Bautista) to fight against Ronan. But when Quill discovers the true power of the orb and the menace it poses to the cosmos, he rally with his new pals to fight for the galaxy's fate. Directed and written by James Gunn ("Slither"), the action-comic-fantasy "Guardians of the Galaxy" may be the film you (and most fan boys) have been waiting for all summer, and might invigorate the rather stale movie box-office as of late. It's a comic-book paradise, but this time filled with some ragtag characters that provide a little levity along this fast-paced ride. Technically speaking, the visuals and action are the most memorable part of the film, and "Guardians" keeps rolling along even if you don't quite understand its comic book source and meaning, and fortunately Gunn also fills with some nice humorous touches to help you forget that. If you're unfamiliar with the "Guardian" stories and characters (as I was), then you're best to not make a big deal of it and just go with it; the ensemble cast, including Pratt, is mostly a treat, with Cooper getting most of the best lines as the talking raccoon, while Diesel's voice is inspired casting as the humanoid tree. However, outside of the "Guardians" group it's less successful, with Pace in particularly lacking power as the chief bad guy, while there are talented actors oddly cast in smallish roles or cameos (Djimon Hounsou, Benicio Del Toro, Glenn Close, John C. Reilly among others) that seem more like stunt casting choices than adding any real value to the film. "Guardians of the Galaxy" is terrific fun for fan boys and non-fan boys alike and it's certainly better than anything related to "Transformers" as of late (I'm looking at you, Michael Bay), though really it's just a warm-up for the next "Avengers" film next summer, which is superior to this film. Still, it's a worthy "Marvel" entry, and worth seeing for one last big box-office hurrah this summer.

Wes's Grade: B

Get On Up - C+

Rated PG-13, 138 minutes

"Get On Up" filled with energy even if skims the surface of Brown's life

Chadwick Boseman as James Brown

"Get On Up" is the new bio film of legendary rock and soul singer James Brown, and much like Brown himself, the movie is flawed but has considerable energy and some good moves. It's a rather tame look and not as substantive as it could've been, though certainly entertaining. The film chronicles the life of Brown (Chadwick Boseman, who also played Jackie Robinson last year in "42") from his rough early childhood in the South to his rise as one of rock's most iconic figures in the 60s and 70s. Directed by Tate Taylor of "The Help" and co-written by brother Jez and John-Henry Butterworth, who penned this summer's Tom Cruise sci-fi movie "Edge of Tomorrow," it's an enjoyable, "warts-and-all" look at a colorful, iconic figure, though it seems to only skim the surface of some of Brown's and some of his problems, including drug use, legal problems and his relationship issues. Boseman is terrific as Brown, capturing Brown's look, energy and mannerisms, though Tate is wise to use Brown's singing voice of much of the film. However, there are a couple of central flaws with "Get on Up," in that it could've used a stronger director than Taylor. Much like Brown himself on stage, the movie jumps around considerably from the different stages of Brown's life, from his childhood to early teens to mid career to late life, and which provides a slightly uneven, shallow focus that doesn't provide enough depth to the movie. Second, and more problematic, is that it "breaks the fourth wall" by having Brown often address the audience, always a tricky move that is more of an annoyance and distraction here that doesn't work with the narrative. "Get On Up," though grounded by Boseman's believable performance as Brown, has a strong supporting cast, including Oscar-nominee Viola Davis as his mother, Oscar-winner Octavia Spencer, both from Taylor's "The Help" except this time they're underused, particularly Davis's small role as Brown's mother: her reappearance later in the movie is very awkwardly staged; Dan Aykroyd as Brown's agent Ben Bart, singer Jill Scott as one of his wives and in one of the film's stronger performances, "True Blood's" Nelsan Ellis as Brown's close friend, bandmate and confidant, Bobby Byrd - and though portrayed as a central character - the film doesn't give enough credit to Byrd for the significant part he played in launching Brown's career. "Get On Up" lacks insight into many of these characters and especially into Brown's personal problems, so it would come as no surprise the highlight of the movie is the concert sequences or whenever Brown is on stage or preparing for concerts. "Get On Up" is an entertaining look at Brown's life, but it could've benefited from a better script and perhaps a different director, who could've provided more edge to such an iconic figure.

Wes's Grade: C+