The Equalizer - C-

Rated R, 131 minutes
Wes's Grade: C-

Denzel Washington

"The Equalizer" is a modestly entertaining but shallow, unoriginal crime drama

Denzel Washington is an Academy-Award winning actor whose trademark has been playing the anti-hero, good-bad guys who ultimately try to do the right thing. That's also the premise of Washington's derivative, vapid new crime and revenge tale "The Equalizer," and he reteams with his "Training Day" director Antoine Fuqua. There are some terrific moments, but Washington seems to be going through the motions and the story lacks originality or any subtlety. Robert McCall (Washington), a man who believes he has put his mysterious past behind him and dedicated himself to beginning a new, quiet life. But when McCall meets Teri (Chloë Grace Moretz), a young girl under the control of ultra-violent Russian gangsters, he can't stand idly by - he has to help her and is armed with hidden desire for justice and skills that allow him to serve vengeance in his own unique way. Based on the superior TV show of the same name, "The Equalizer" is a mediocre, shallow crime drama, hampered by its chauvinistic qualities (Washington literally comes into save the day for a young girl, well-played by Grace Moretz) and the fact that Washington is too old and paunchy for the role. Washington could do himself some favors with his career by playing a light romantic comedy or an indie film, neither of which he does frequently at all. Much like Johnny Depp and now Melissa McCarthy, he finds himself in the same type of film roles, though his career is in a better position than Depp and McCarthy's seems to be getting started. "The Equalizer" has some decent moments and the character is really quite good at what he does, but down the stretch it's too calculated and its strokes are painted too broadly, and decent actors like Bill Pullman and Oscar-winner Melissa Leo are wasted. With "The Equalizer," you get exactly what you expect, which is violence and a decent turn by Washington, though it could've have been considerably better with another actor and director. Go if you must, but if you've seen Washington's other films, you've seen this one too.

The Boxtrolls - B-

Rated PG, 100 minutes
Wes's Grade: B-

"The Boxtrolls" a clever, witty and dark children's fantasy

From the makers of such dark animated films as "ParaNorman" and "Coraline" comes the equally dark and charming children's fantasy "The Boxtrolls," a clever film that may be a tad too dark but still enjoyed by its target audience. The Boxtrolls is a community of quirky, mischievous creatures who have lovingly raised an orphaned human boy named Eggs (voiced by Isaac Hempstead-Wright) in the amazing cavernous home they've built underneath the town of Cheesebridge. When the town's villain, Archibald Snatcher (Academy Award- winner Ben Kingsley), hatches a plot to exterminate of the Boxtrolls, Eggs ventures above ground,where he meets and teams up with the feisty Winnifred (Elle Fanning). and together they devise a daring plan to save Eggs' family. Co-directed by Graham Annable and Anthony Stacci and based on the British children's novel "Here Be Monsters!" by Alan Snow, "The Boxtrolls" is a dark but colorful and witty fantasy with great voice talent - Fanning and Kingsley in particular are quite good here - though it is a smidgen scarier than most films in this dark animated film genre. The stop-motion animation (which can also be viewed in 3D) is also clear and crisp, but that's unsurprising given directors Annable and Stacci's experience as animators. The adventure is quirky and message meaningful yet some of the dialogue and one-liners may not be grasped by the young set, but "The Boxtrolls" is still a suitable, engaging adventure; I wouldn't recommend it for children under 5, who may be a little frightened by the unconventional but sweet creatures.

Hector and the Search for Happiness - C

Rated R, 120 minutes
Wes's Grade: C

Simon Pegg

Hector's "Search for Happiness" is a dull, vapid one

If the search for true happiness were this boring, I'd rather be unhappy. "Hector's and the Search for Happiness" is a mildly enjoyable but unsatisfying adventure that resembles those films with people going on trips to find themselves. Hector (Simon Pegg) is a quirky psychiatrist who has become increasingly tired of his humdrum life. Hector decides to break out of his deluded and routine driven life. Armed with buckets of courage and child-like curiosity, he embarks on a global quest in hopes of uncovering the elusive secret formula for true happiness. Directed and written by Peter Chesholm and based on the novel by Francois Lelord, the unfulfilling, uneven "Hector and the Search for Happiness" is filled with quirky, fun moments and platitudes that don't often make sense with the story, not to mention it seems to be required to go off to find happiness instead of looking for it right in front of you. The always-amusing, always-entertaining Pegg from "Star Trek" and those far funnier zombie films with Nick Frost (too bad he doesn't appear here) grounds the film well, but "Hector" feels awfully similar to Ben Stiller's "The Secret Life of Walter Mitty," a film that flopped last winter and may happen to this. Jean Reno, Toni Collette, Stellan Skarsgard and Oscar-winner Christopher Plummer all appear in smallish roles that don't advance the film much, though Collette has one nice, touching monologue in the final act, and the lovely Rosamund Pike is given little to do as well. I enjoyed parts of the unsatisfying and empty "Hector and the Search for Happiness" and I always like seeing Pegg, but you won't be truly happy after you leave the movie.

Two Night Stand - B-

Rated R, 86 minutes
Wes's Grade: B-

"Two Night Stand" disposable but witty rom com

The charming new rom com "Two Night Stand" is an expendable as a one-night stand itself, and while it doesn't significantly advance relationships, there's some fun to be had. Twenty-something New York City strangers Alec and Megan (Miles Teller and Analeigh Tipton), awake after an ill-advised one night stand to find themselves snowed in by a blizzard that's put the whole city on ice. Trapped together in a tiny Brooklyn apartment, they're forced to get to know each other far better than any anonymous bed partners should. Directed by Max Nichols and written by Mark Hammer, both of whom have had more experience as actors than behind the camera, "Two Night Stand" is a slight, calculated but amusing rom com held together by the charms of Teller, who walks off with the movie in a seeming warm-up act to his acclaimed "Whiplash" coming next month and the upcoming "Fantastic Four" film next year. Teller, a smart young actor who has that ability to both likable and smirky, is certainly on the cusp of superstardom, and roles in small, throwaway films like this only cement his talents. Tipton ("Warm Bodies") is also lovely in one of her first substantial roles, and she and Teller have a natural chemistry together that keeps the film watchable as a whole. Speaking of which, there are a couple of plot twists, particularly one coming fairly late, that are too contrived and serves only to lay out an ending you know is coming. Still, "Two Night Stand," which hits both theaters and VOD this week, is pleasant, entertaining fluff that's a serviceable entry in this oversaturated genre, only because like real one night stands, you don't want it to end, not that I would know that or anything. Though its leads are both appealing, this is Teller's show.

Tusk - D

Rated R, 102 minutes
Wes's Grade: D

Smith's original "Tusk" mostly weird and dumb

The toilet flushing sound you hear is that of Kevin Smith's film career going down quickly, after most audiences see his dark new horror comedy "Tusk." It could've had a dark edge to it, yet it's mostly just creepy and stupid in a shocking sort of "Human Centipede" way. Justin Long is a California podcaster who is targeted by a Canadian sadistic killer while attempting to land an interview with a misanthropic adventurer (Michael Parks), and then his friend co-podcaster (Haley Joel Osment) and girlfriend (Genesis Rodriguez) go searching for him. Directed and written by the talented Smith, who charmed us with "Chasing Amy," "Jay and Silent Bob" and "Clerks," "Tusk" is an original but wildly uneven, exceedingly weird and rather slapdash effort that's also misleading when it says it's "based on a true story." "Tusk" actually started as a joke on Smith's podcast, and is hardly grounded in any sort of reality or solid filmmaking skill for that matter, though the first 20 minutes or so isn't too bad. Even worse, it veers off wildly when an A-list actor shows up under a load of makeup awkwardly improvising, but even his poor attempts at comic relief can't save the movie, which is gone too far by then under a tremendous amount of silly shock value. "Tusk" also uses the Fleetwood Mac song of the same name (though they will surely regret letting Smith use it), yet the film really channels the Beatles song "I Am the Walrus," which is about as much of the plot I care to give away. Even more provocative than the plot, you may find yourself asking such questions as "is that really the guy from 'Pirates of the Caribbean'?" (yes, just listen to the voice) or "is that really the kid from 'Sixth Sense'" (whose pudgy character is obviously modeled after Smith himself); I also really felt sorry for poor Justin Long, whose getup looks as unpleasant and ill-fitting as the movie itself. If you're a big Smith fan and enjoy weird stuff like this, go for it, but otherwise I'd skip the disturbingly awful "Tusk."

My Old Lady - B

Rated PG-13, 107 minutes
Wes's Grade: B

Kevin Kline and Maggie Smith

Kline and Smith a fun pairing in the predictable but charming "My Old Lady"

Generally there are a few things that work effectively in most films, and they are kids, old people and animals. The calculated but pleasant new comedy "My Old Lady" doesn't have any animals or kids, but it does have Oscar-winners Maggie Smith and Kevin Kline, and for some that may be enough. Mathias Gold (Kline) is a down-on-his-luck New Yorker who inherits a Parisian apartment from his estranged father. But when he arrives in France to sell the vast domicile, he's shocked to discover an elderly live-in tenant (Smith) and her daughter (Kristin Scott Thomas) who, under the complex French real estate system, can collect rental payments from Mathias until she dies. Directed and written by Israel Horovitz as a semi-love letter to Paris, "My Old Lady" is a charming film, made better by the vastly likable Kline and Smith, though this will no doubt will appeal most to the over 60-set. There are a handful of contrivances and plot twists that are obvious from the first moments of the film, but are made better by the warm tit-for-tat chemistry (the highlights are their conversations over meals) of the leads, as well as Scott Thomas, always a lovely presence in any film she appears in, especially when she begins speaking French. Kline typically plays these types of semi-loser/down-on-your-luck type of guys, and he seems so accustomed to it the effort seems minimal at times, yet he seems to effortlessly have it down pat. "My Old Lady" shouldn't be confused with "My Fair Lady" - it's not a classic musical film - but it's just as likable as that film, and featuring two skilled actors who make its unoriginal material better. Mostly satisfying, it's not the best for those involved but a pleasant experience all the same.

The Disappearance of Eleanor Rigby - B

Rated R, 122 minutes
Wes's Grade: B

Well-acted "The Disappearance of Eleanor Rigby" a compelling look at relationships

The new drama "The Disappearance of Eleanor Rigby" is an insightful relationship study highlighted by strong performances throughout. Unique in it's vision, it's talky and somewhat downbeat, but then it shows that none of us are perfect. Once happily married, Conor (James McAvoy) and Eleanor (Jessica Chastain) suddenly find themselves as strangers longing to understand each other in the wake of tragedy. The film explores the couple's story as they try to reclaim the life and love they once knew and pick up the pieces of a past that may be too far gone. Directed by Ned Benson in his debut as feature film director, "The Disappearance of Eleanor Rigby" explores truth and painful honesty in marriage and family, even when it hurts. Both McAvoy and Chastain in particular are strong, with their emotions felt throughout the film; Chastain is particularly effective in one of her more fully realized performances as the woman who happens to share a name with the famous Beatles song (yes, that's explained in the film). "Eleanor Rigby" also features a strong supporting cast, including William Hurt and Isabelle Huppert as Elle's parents; Viola Davis as one of her college instructors; Bill Hader, Ciaran Hinds and Archie Panjabi all in small but effective roles. "Eleanor Rigby" is superbly acted and the emotion is palpable and overall a satisfying effort, though it drags in the middle act and some might find it a challenge seeing two difficult people work through such tragic circumstances. Interestingly, "Eleanor Rigby" is part of a three film effort from Benson; one called "Him" which explores the situation from Conor's perspective and "Her" from Eleanor's perspective, and "Eleanor Rigby" seems much more an extension of the latter film. Worth a look for another solid Chastain performance.

The Skeleton Twins - B

Rated R, 93 minutes
Wes's Grade: B

Kristen Wiig and Bill Hader

Wiig, Hader superb in the bittersweet "The Skeleton Twins"

They say twins have a special connection, and it's never more true in new pensively funny dramedy "The Skeleton Twins." Part understated character study and part comedy, it effectively brings out both the laughs and the tears. When estranged twins Maggie (Kristen Wiig) and Milo (Bill Hader) feel they're at the end of their ropes, an unexpected reunion forces them to confront why their lives went so wrong. As the twins reconnect, they realize the key to fixing their lives may just lie in repairing their relationship. Directed and written by Craig Johnson and starring the "Saturday Night Live'  alums and former colleagues, "The Skeleton Twins" is a low-key, bittersweet portrait of two unhappy people whose broken relationship seems to be at the center of it all. The warm, fun chemistry between Wiig and Hader, most often known for their comedic skills, is the chief highlight of the film, and it balances it out from some of the sadder, more talky elements of the movie. Hader in particular delivers a strong, believable turn as the depressed gay brother who needs a good break in life, and he has some of the best lines of the film ("is he always like that?" when referring to his annoying chipper, outdoorsy brother-in-law, played by Luke Wilson). Wiig is also good as the sister with some clear intimacy issues, and she is especially effective in the scenes when their estranged mother (sharply played by Tony-award winning character actress Joanna Gleason). "The Skeleton Twins" is a thoughtful, often painfully funny dramedy with great chemistry from the leads, though some may not appreciate the film's darker, more sarcastic moments. Satisfying and worth a look.

A Walk Among the Tombstones - C+

Rated R, 114 minutes
Wes's Grade: C+

Liam Neeson

Neeson is solid in the dull, cliched crime thriller "A Walk Among the Tombstones"

Some films emanate a retro vibe, and the new crime thriller "A Walk Among the Tombstones" is one of them. It channels those seedy 1970s cop dramas with Gene Hackman or Al Pacino and directed by Sidney Lumet. In spite of some compelling moments and a terrific lead actor, it's not as good as those films, easily becoming a standard, run-of-the-mill urban cop drama. Liam Neeson is Matt Scudder, an ex-NYPD cop who now works as an unlicensed private investigator operating just outside the law. Scudder reluctantly agrees to help a heroin trafficker (Dan Stevens) hunt down the men who kidnapped and then brutally murdered his wife, he learns its a part of a series of twisted crimes and works to stop it from happening again. Directed by Scott Franks, who wrote "Get Shorty" and "Out of Sight" and directed "The Lookout," the low-key, film noir-esque "A Walk Among the Tombstones" is a mildly enjoyable, character-driven drama that's muddled and slow-moving, made watchable by the always believable Neeson, turning in a solid performance in a rather dull movie. Based on the best-selling Lawrence Block novel of the same name, Neeson, in a role that's not as similar to the "Taken" films as you might think, is by far the best thing about the film, whose predictable plot, which involves drugs and torture porn, relies on too many cliches and contrivances to move the film along (a young sidekick, unreliable witnesses, etc.), especially in its draggy second act. Even with a stellar actor such as Neeson, you'll find yourself looking at your watch more than once, which makes "A Walk Among the Tombstones" a disappointment along the lines of "CSI" and "Law and Order," which have become standard fare for material like this (Blocker's novel was released in 1992, back when cop dramas like this were starting to turn dark). Not terrible and Neeson is always a treat, but it could've been better.

This is Where I Leave You - C+

Rated R, 103 minutes
Wes's Grade: C+

Tina Fey and Jason Bateman

Fun but flimsy family dramedy "This is Where I Leave You" won't stay with you

It's hard to dislike the charming but forgettable new dramedy "This is Where I Leave You." It seems perfectly suited for the fall: it has a very appealing (and quite extensive) ensemble cast and is peppered with some fun moments, and while all that's good, it doesn't really add up to much. The four contentious siblings of the Altman  family (Jason Bateman, Tina Fey, Adam Driver, and Corey Stoll) reunite at their childhood home after their father dies, all grounded for a week by their Mom (Jane Fonda) of sitting Shiva (their father's last request). Directed by Shawn Levy ("The Night at the Museum" movies) and written by Jonathan Topper, based on his best-selling novel, the bland, likable dramedy "This is Where I Leave You" is a crowd-pleasing movie filled with too many characters and hampered by a weak script. The most memorable: "Girls" Adam Driver, who is a bundle of unbridled energy, stealing scenes as the spoiled youngest , child; Fonda who is all aglow, looking terrific for her age and not really needing those fantastic fake boobs she sports, while Fey and Bateman are well cast as the sarcastic siblings. On the downside, there's really too many extraneous characters here, at least about a half-dozen or more (including Rose Byrne, Connie Britton, Dax Shepherd, Abigail Spencer, Timothy Olyphant, Kathryn Hahn and some dude named Boner) all of whom could've been excised for a tighter story; the plot is meandering and overlong, I mean how many times can you smoke pot or sit on the roof at dawn and chat? Apparently, quite a bit, according to Topper's script. I did like one mildly unpredictable plot twist involving Fonda, and one adorable kid named Cole who likes to take his portable toilet with him everywhere so he can get his poop on at the most inopportune times. Unlike the movie and many of the unsympathetic characters portrayed here, at least he knows what he wants to do. On that note, the unmemorable, rather flimsy "This is Where I Leave You," in spite of its talented cast and sporadic laughs, doesn't really accomplish much or have anything significant to say about family or relationships. One thing you can take with you: Fonda still looks fabulous, and that may be enough for some.

The Maze Runner - B-

Rated PG-13, 114 minutes
Wes's Grade: B-

Young adult, dystopian "The Maze Runner" both thrilling and familiar

The new dystopian action thriller "The Maze Runner" might as well be "The Hunger Games" lite. Based on a popular young adult novel series, elements of it will seem very familiar but it's also fast-paced and entertaining enough that its target audience may overlook some of its flaws. Teenager Thomas (Dylan O'Brien) wakes up to find himself without any memory of his past in a place called The Glade, the center of a giant, terrifying maze inside of which live vicious creatures called Grievers. The maze is the key to the life and death of the boys that inhabit The Glade, who can't remember anything before their arrival there. But everything begins to change when the latest arrival turns out to be a girl, Teresa (Kaya Scodelario), and together they form a special bond and, along with the other boys, they launch a desperate bid for freedom. Directed by Wes Ball and written by Noah Oppenheim and based on a YA novel series of the same name, "The Maze Runner" has enough riveting scenes and well-placed, dark energy to make it an above-average entry in this burgeoning new genre of young adult films that have burst on the cinematic marketplace the last two years. It's not as captivating as "The Hunger Games" but more enjoyable than "Divergent" and the recent dystopian YA flop "The Giver." The structure of the society of boys also recalls the classic "The Lord of the Flies," with clear lines drawn in the sand as to good and bad; on that note "The Maze Runner" tends to fall prey to some of the recent YA movies that have been released. It lacks character shape and complexity but makes up for it technically with the intense action and special effects, in particular those enormously awful spiders, not to mention some impressive sets. The cast, including the handsome O'Brien and Scodelario, perform as well as the script allows them to, which is an appealing but bland set of leads, while Will Poulter, seen in last year's comedy hit "We're the Millers," chews up scenery as bad guy Gally. Keep in mind that "The Maze Runner" is based on a series of books (three to be exact and a prequel), meaning they leave it wide open for another entry, provided this movie is a hit, which explains the cliffhanger ending. "The Maze Runner" is a decent adaptation of the book (yes, some changes have been made in the screen adaptation) and a modestly entertaining movie; the action-set pieces are most memorable, though it lacks scope, emotion and a big character draw like Katniss. Though it felt a little distant, it should appeal to and please most the YA crowd, but even older adults may enjoy it too. Worth a look.

The Guest - B

Rated R, 97 minutes
Wes's Grade: B

"The Guest" an exciting, often tense psychological thriller

The entertaining new psychological thriller "The Guest" is one of those little films that manages to pull a few surprises from a dark, albeit, unoriginal premise. The film seems to get a kick out of being a B-grade film, and it features a breakout performance from British actor Dan Stevens from "Downton Abbey," who looks far different than he does on that TV show. The Peterson family finds some solace when an unexpected visitor knocks on their door. David (Stevens), a steely eyed and charismatic soldier and friend of their late son, is welcomed into their home when he comes to fulfill a promise he made to his fallen comrade. Though he appears to be the perfect houseguest, a mysterious and sinister chain of events causes the family to question whether David is actually who he claims to be. Directed by horror film director Adam Wingard of "You're Next," the low-budgeted but often suspenseful thriller and revenge tale "The Guest" is one of those pleasant surprises; it seems to take pleasure and builds some excitement in being a B-grade film and seems to channel 1970s Charles Bronson or John Carpenter. The real find here is from Stevens in a breakout performance for the "Downton Abbey," in a psychotic role that's far, far different from the stuffiness of that popular British soap opera. The farther along the film goes, the more violent it gets, though that violence seems to predict the unoriginal plotting, which finds glee in getting violent revenge in the most unusual of ways. The intensity and violence of "The Guest" may not appeal to those who enjoy happy films and happy endings - you won't find it here - though there's still fun to be had. Not for everyone and it's a little too calculating down its later stretches, but "The Guest" is an exciting, if not violent, change of pace.

The Drop - B

Rated R, 107 minutes
Wes's Grade: B

Tom Hardy

Hardy is excellent in the brooding crime drama "The Drop"

If anyone could ever be described as brawny, that would be Tom Hardy, but that is used to good effect in his new movie, the crime thriller "The Drop." The British actor, best known as bad-guy Bane from "The Dark Knight Rises," is perfectly cast in the new dark drama written by "Mystic River's" Dennis Lehane, and he gets the early fall off to a solid start. The movie follows lonely bartender Bob Saginowski (Tom Hardy) through a covert scheme of funneling cash to local gangsters - "money drops" in the underworld of Brooklyn bars. Under the heavy hand of his employer and cousin Marv (James Gandolfini), Bob finds himself at the center of a robbery gone awry and entwined in an investigation that digs deep into the neighborhood's past. The involving, often dark and sometimes bloody drama "The Drop," directed by Michael R. Roskam and written by Lehane, is well-acted and engaging, even through some slow moments in the second act. Hardy broods well throughout (and in a nice Brooklyn accent), even next to the late but solid Gandolfini, channeling more of "The Sopranos"-style roles he is known for. "The Drop" has been done before, and seems familiar next to Lehane's similarly-themed "Gone Baby Gone" and the aforementioned "Mystic River," but it's still a well-acted, sturdy, solid crime drama that's more affecting in its later chapters. Well-worth seeing.

No Good Deed - C-

Rated PG-13, 105 minutes

Idris Elba

Wes's Grade: C-

Not much good about silly, contrived "No Good Deed"

In a highly unusual move, Screen Gems, the studio distributing the new movie "No Good Deed," canceled advance screening nationwide for critics in a move according to them, to preserve some key plot twists, but a move that signaled the movie wasn't that good. The latter statement would prove to be true in the highly implausible, silly and mildly enjoyable thriller "No Good Deed." Terri (Taraji P. Henson), a devoted wife and mother of two, lives an ideal life that takes a dramatic turn when her home and children are threatened by Colin (Idris Elba), a charming stranger who smooth-talks his way into her house, claiming car trouble. The unexpected invitation leaves her and her family terrorized and fighting for survival. Directed by Sam Miller, who directed Elba in the acclaimed TV series "Luther," "No Good Deed" is a conventional, predictable thriller, though Elba is a good bad guy, and he is one of the few bright spots about this unoriginal thriller. For what it's worth, you can see any plot "twists" from a mile away (even in the trailers) as the criminal somehow is able to find a woman alone at home, at night, with her children, when its raining - all highly unlikely to happen in real life. There are some decent, tense moments, but if you think you know what happens, it does, not to mention a clunky ending. Note to Screen Gems, it's never a good thing to cancel your advance screenings at the last minute, it shows a genuine lack of faith in your product, and after seeing "No Good Deed," it only underscores what we already knew: that it's a dud. Elba and Henson are appealing, and it'd be nice to see Elba in particular in more bad-guy roles, but with a better script and direction. It's best to skip "No Good Deed" and see the much better thriller "The Drop" this weekend.

Love Is Strange - B

Rated R, 94 minutes
Wes's Grade: B

John Lithgow and Alfred Molina

Well-acted, low-key "Love Is Strange" shows that love can manifest in various ways

The satisfying new drama "Love Is Strange" is a story of love that may look different than most of us. The rich story and lovely performances will draw you into the unassuming and simple film that I hope will be remembered come Oscar time. Ben (John Lithgow) and George (Alfred Molina), a same-sex couple from Manhattan, get married after 39 years together. George is a Catholic school music teacher, and when word of the marriage reaches the archdiocese, he is fired. Without his salary, the couple can no longer afford their New York apartment and are forced to ask their friends and family for shelter, resulting in their separation. Directed and written by Ira Sachs, the tender and warm "Love Is Strange" is about a gay couple but could really be about any of us who have encountered adversity in a relationship. The movie draws its real strength from the superb performances from Lithgow and Molina, who shine as the couple facing some challenges in their relationships, not to mention a strong supporting cast that includes Oscar-winner Marisa Tomei (very well-used here). Sachs uses NYC wisely as a supporting character too; the familiar sights and sounds of the city are integral to the story and essentially represent the many challenges that Ben and George face. I always knew from his previous work that Lithgow is an excellent actor, and he perfectly captures Ben's emotions, which makes it a mild surprise that Molina, best known as one of the "Spider-Man" villains, is so vivid in his portrait of a man who longs for so much more. The simple yet complex, well-drawn characters and emotions and the excellent performances make the bittersweet "Love Is Strange" a worthwhile experience. If you really enjoy independent films, put this one on your list to see, and I hope it's not forgotten come awards season.

The Pirates - B

Unrated, 130 minutes
Wes's Grade: B
In Korean with English subtitles

Familiar yet enjoyable South Korean film "The Pirates" channels other movies

A pirate's life isn't for everyone. That's the overwhelming theme of the entertaining, fun new South Korean action film, "The Pirates," and while the plot is very familiar, it proves you can be an enjoyable pirate film without the likes of Johnny Depp. On the eve of the founding of the Joseon Dynasty, a whale swallows the Emperor's Seal of State being brought to Joseon by envoys from China. With a big reward on whoever brings back the royal seal, mountain bandits led by Jang Sa-jung (Kim Nam-gil) go out to sea to hunt down the whale. But he soon clashes with Yeo-wol (Son Ye-jin), a female captain of pirates, an unexpected adventure unfolds. Directed by Lee Seok-hoon, "The Pirates" is a high-spirited, amusing adventure that is making its way to the States after a highly successful run in South Korea. It will definitely remind you of "The Pirates of the Caribbean" series, just without Depp and company, but just as fun and elaborate, with detailed sets, costumes, energetic score and lush photography that are all memorable in the fast-paced film. Those familiar with South Korean films will also note how busy and colorfully over-the-top "The Pirates" sometimes is, but still enjoyable nonetheless, and refreshing that it doesn't take itself too seriously. The action-packed "The Pirates" is an amusing diversion, even if you've seen it before from many other Hollywood efforts.

Dolphin Tale 2 - B-

Rated PG, 107 minutes
Wes's Grade: B

Heartwarming "Dolphin Tale 2" is nothing new, but still swims pleasantly along

The most previous summer saw a dearth of decent family films, and the new based-on-a-story dramedy "Dolphin Tale 2," the sequel to the clever 2011 family hit "Dolphin Tale," should fill in the gap just nicely. It's hardly anything new, but heartwarming tale will charm as much as the first one did. The team of people (including Nathan Gamble, Harry Connick Jr., Cozi Zuehlsdorff, Kris Kristofferson, Ashley Judd and Morgan Freeman) who saved Winter's life reassemble in the wake of her surrogate mother's passing in order to find her a companion so she can remain at the Clearwater Marine Hospital. When a baby female dolphin named Hope is rescued by Clearwater, fingers are crossed in hopes Winter and Hope can get along. Written and directed by Charles Martin Smith, who helmed the first "Dolphin Tale" and who also appears here briefly (he's also an actor still most recognizable for his iconic role as Terry "The Toad" from "American Graffiti"), "Dolphin Tale 2" is less original and tends to ride the coattails of its cute predecessor, but it's an enjoyable, uplifting family film that becomes too irresistible especially in its later chapters, to really dislike. This outing is thinner and more episodic as it strives to search for a companion for Winter, who charmed us so much in the first film, and just when you think the film might belly flop under a meandering plot, in comes the baby dolphin Hope (who, like Winter, plays herself here), who steals the movie and provides the film's most tender moments. Add in another cute dolphin named Mandy, a big sea turtle named Mavis and a pelican named Rufus for comedic appeal, not to mention a cameo from "Soul Surfer" herself, Bethany Hamilton, and you have something for nearly everyone in the family. Remarkably, if you stay over through the end credits you'll see that all of the animals (including Winter, Hope, Mandy, Rufus and Mavis), are real characters, which only adds to the charm of the film. Admittedly, from the first frames of the film you have a sinking feeling of how this will all turn out, and on that note "Dolphin Tale 2" offers few surprises, but that doesn't mean you won't leave with a smile on your face. Predictable, pleasant fun.

Out of the Clear Blue Sky - B+

Unrated, 108 minutes
Wes's Grade: B+

With the 13th anniversary of the September 11 attacks approaching, the documentary "Out of the Clear Blue Sky," made by a 9/11 family member and filmmaker, should be required viewing: it's a compelling, often heartbreaking portrait of how 9/11 affected one investment company. After a very limited release in 2013, the documentary is just out on DVD and is definitely worth viewing. A documentary that explores the devastating effects of 9/11 on the investment firm Cantor Fitzgerald, whose offices on the upper floors of the North Tower of the World Trade Center were destroyed in the attacks, killing 658 out of their 960 employees. Directed by Danielle Gardner, whose brother worked for Cantor and was killed in the attacks, "Out of the Clear Blue Sky" is a fascinating, poignant look at the lives lost and the company that had to literally rebuild from the ground up. The company's CEO then and now, Howard Lutnick, became well-known in the days following the attacks for his emotional breakdowns as he spoke of his company, and then became disliked when he stopped the paychecks of his deceased employees, an act he said was needed to keep the company alive (which was true). Lutnick instead vowed to commit 25% of the company's profits for 5 years and pay for insurance to the victim's families for 10 years, promises he kept as Cantor came back stronger and more profitable than ever. Lutnick, known for his cutthroat, autocratic leadership style on Wall Street, should be commended for those promises, as well as starting the Cantor Relief Fund (run by Lutnick's sister Edie), the organization still in existence that at first exclusively helped the 9/11 victims then expanded to helping victims of other disasters too. "Out of the Clear Blue Sky" is bittersweet, often riveting and in the later chapters, quite emotional (be prepared to have some tissues handy) listening to the victims families and watching some of the Cantor memorial services, though for some, especially those who feel they have been deluged with 9/11 over the years, may find it redundant (and since much has evolved since the early days of 9/11 some may feel distant from it all). "Out of the Clear Blue Sky" is a heartbreaking reminder to not to forget 9/11, and is a great companion piece to Edie Lutnick's 2011 book, "An Unbroken Bond" (a very insightful, poignant read), which provides more detail into what happened with Cantor after 9/11. Both come highly recommended.

Life After Beth - C+

Rated R, 91 minutes
Wes's Grade: C+
 
Thin, amusing zombie comedy "Life After Beth" lacks bite

The charming, quirky new zombie comedy "Life After Beth" is well-acted with a few laughs, but overall it lacks real bite and is only a serviceable entry in the zombie genre (and its sub genre, the zombie rom com). As a "Saturday Night Life" sketch it would perfect, it starts out well but it meanders too much in the last act. After his girlfriend Beth (Aubrey Plaza) unexpectedly dies, Zach (Dane DeHaan) is devastated. However, he gets a second chance at love after she suddenly rises from the dead. Directed and written by Jeff Baena in his feature film debut, the enjoyable, quirky dark comedy "Life After Beth" has a great cast, including a game, engaging Plaza from the TV show "Parks and Recreation," not to mention a bevy of funny actors as the parents: John C. Reilly, Molly Shannon, Cheryl Hines and Paul Reiser, and the initial sections of the film, when the weird things start happening around town, are the most amusing, but ultimately it has nowhere to go and little to do. Plaza's (who is one of my favorite young comedic actresses) committed performance as the zombie girl holds the film together, and she and DeHaan make for a great pairing, but it doesn't deliver enough satisfaction, including fleshed out characters, a decent ending and coherent plotting than last year's "Warm Bodies," which did the zombie rom com thing much better. I would love to see the talented Plaza really break out to better roles, but she needs smarter, sharper material than the likable but slack "Life After Beth."

The Identical - C-

Rated PG, 107 minutes

Wes's Grade: C-

Bland, cliched pleasantly scattered “The Identical” channels Elvis

The energetic, low-budget new drama “The Identical” is a fictionalized story of a young singer who grows up, unbeknownst to him, with an identical twin brother who is a famous rock singer, but the story is clearly and obviously patterned after Elvis Presley.  Most musically-based films (including the recent James Brown biopic “Get On Up”) feature onstage musical sequences that highlight the film; “The Identical” is the opposite of that, with more compelling moments offstage than the awkwardly handled, badly lip-synched musical numbers. Twin brothers (both played by newcomer and indie singer Blake Rayne) are unknowingly separated at birth; one of them becomes an iconic rock 'n' roll star, while the other struggles to balance his love for music and pleasing his Mom (Ashley Judd) and stern preacher father (Ray Liotta). Directed by Dustin Marcellino in his feature film debut as director, the bland “The Identical”  channels the Elvis story, not to mention many rags-to-riches clichés. Some of it is charming, particularly its Southern sayings (such as “PK” for “Preachers Kid” and ‘Daddy and Mama’) but “The Identical” feels as well-worn and predictable as those blue-suede shoes and you have a sense of the path that it will take before it gets there. The cheesy musical numbers don’t help either, and it would’ve benefited considerably from more believable lip-synching and performing. Judd and the hammy Liotta, in a more sensitive performance than usual, add to the pleasantries, while newcomer Rayne, also in his feature debut, is serviceable as the twins (and it’s no surprise that Rayne, who bears a striking resemblance to Presley, is a real-life Elvis impersonator), though the producers should've only used Rayne in the adult sequences, he's much too old to be playing a teen. Oddly, the focus of “The Identical” is really on one twin’s journey (and the Elvis-like twin seems far more interesting too), but that comes as no surprise given the film’s low-budget would’ve made the split screen much more expensive. The climax is a little mauldlin and even cheesy, but “The Identical” is pleasantly (and yes, fictionalized, as far as we know it) yet scattered, occasionally compelling portrait of two different paths to success.

Summer Movies Review

The summer, at least in terms of movie-going, has now ended. It was an unusually off summer in terms of quality and box-office receipts (the lowest since 2007), but there were a handful of good movies, mostly independent ones, that made their way to theaters this summer.  My overall grade for the summer: C. There were many more misses than hits, though some still managed to make a profit.

Here are a few of my favorites:

Boyhood - Richard Linklater independent drama filmed over 12 years to chronicle one boy's actual growth. The best movie of the summer, and one of the best of the year so far.

Life Itself - The documentary about film critic Roger Ebert was one of the most affecting seen this year. Take plenty of tissues.

Belle - The independent, fact-based film showed the strength and power of one woman, who happened to be black. Featuring a breakout performance from British actress Gugu Mbatha-Raw.

Guardians of the Galaxy - The biggest movie of the summer, and now of the year, was also one of the most enjoyable, proving that superheroes can be fun and well-drawn.

Chef - The highest-grossing independent film of the year from Jon Favreau was a crowd-pleasing, none too surprising given that it involved food.

Also - Frank, Dawn of the Planet of the Apes, X-Men: Days of Future Past, 22 Jump Street, How to Train Your Dragon 2, The One I Love, Begin Again and Snowpiercer were also memorable in a summer that really wasn't.

The Worst

Michael Bay or Adam Sandler. Transformers: Age of Extinction and the new Teenage Mutant Ninja Turtles were exceedingly annoying and headache-inducing (though made a lot of money for Bay and company), while Sandler's Blended was an outright flops.

Sex Tape - Another flop, this was a career-worst for Diaz (which is saying something) and especially for the normally funny Jason Segel.

Tammy - it was another hit for Melissa McCarthy, but she needs to try something different.

Hercules - a big flop (though it could recoup overseas) for The Rock, this was a money-making weakling.
 
Into the Storm, Think Like a Man Too, Sin City: A Dame to Kill For, Step Up: All In, A Million Ways to Die in the West, The Giver, November Man, If I Stay and The Purge: Anarchy all were unmemorable.