Nightcrawler - B+

Rated R, 117 minutes
Wes's Grade: B+

Gyllenhaal's electric, creepy turn grounds the wickedly tense "Nightcrawler"

The dark, well-acted new thriller "Nighcrawler" is a devilishly powerful ride through the underbelly of Los Angeles crime, as told through the local news. It stars Jake Gyllenhaal in an Oscar-worthy turn so wildly creepy and slimy, you may have to wash your hands after seeing the movie.  Lou Bloom (Gyllenhall) is a driven young man desperate for work who discovers the high-speed world of L.A. crime journalism. Finding some freelance camera crews who film crashes, fires, murder and assorted mayhem, Lou muscles into the cut-throat, dangerous realm of nightcrawling -- where each crime could equal a nice paycheck. Aided by Nina (Rene Russo), a veteran of the blood-sport that is local TV news, Lou thrives and in the breakneck, ceaseless search for footage, he becomes the star of his own story. Directed and written by screenwriter Dan Gilroy in his feature film directorial debut (and he's married to Russo in real life), the fascinating "Nightcrawler" is a wildly hypnotic, wildly entertaining tale that will dig deep into your psyche and stay there awhile; instead of tissues have some hand sanitizer because you might feel a little dirty after watching it. Gilroy, whose written such unmemorable movies as "Two For the Money" and "Freejack" over the years, finds some sure footing here, though some of it, particularly the intense climax, is a tad outrageous and over-the-top, but then the dark side of investigative journalism often is. Gyllenhaal's is excellent in what is likely his best and most talked-about role to date, that of the ambitious, smooth-talking psychopath Lou; Gyllenhaal's weight loss for the film enhances his already large eyes, giving off an ultra creepy vibe in a psychotic character who'll do literally nearly anything just for a dollar. Gyllenhaal is one of cinema's smartest actors, and it really pays off in a role he'll likely receive many accolades for. As his partner in crime Rick, Riz Ahmed ("The Reluctant Fundamentalist") provides some humanity (and moments of dark humor) as the voice of reason, while the blowsy Russo, still looking great  at age 60, is his other partner in crime but a clear enabler. Gyllenhaal's Lou, in one terrific scene with Russo, manages to execute both a business deal and a romantic endeavor, and you'll leave both shocked and totally creeped out. "Nightcrawler" doesn't work perfectly all the time (especially with Bill Paxton's character, who seems a minor annoyance here), but it's wickedly intense, bloody entertaining and features one of the year's most hypnotic performances from Gyllenhaal, who continues to grow as an actor. Add this to your growing list of must-see fall films.

Before I Go to Sleep - C

Rated R, 92 minutes
Wes's Grade: C

Well-cast but sluggish "Before I Go to Sleep" slumbers

I hate the feeling of that struggle to stay awake during a movie, but ironically that was the case in the modestly entertaining but stagnant new thriller "Before I Go to Sleep," which seems to have been dumped, I mean released, on Halloween Day in hopes of finding an audience in search of a decent, scary thriller. Too bad they won't find it here. Christine (Nicole Kidman) is an amnesiac who wakes up every day with no memory as the result of a traumatic accident in her past. One day, terrifying new truths begin to emerge that make her question everything she thinks she knows about her life - as well as everyone in it, including her doctor (Mark Strong) and even her husband (Colin Firth). Directed and written by Rowan Joffe ("Brighton Rock") and based on a seemingly far more intriguing, 2011 best-selling novel of the same by S.J. Watson, "Before I Go to Sleep" is sluggishly assembled in spite of a talented cast who performs well and an intriguing plot; it doesn't help that the first couple of acts are as slow as molasses, and you may find yourself drifting off (or perhaps counting sheep) much too early on in the film. By the time it finally picks up some energy late in the last act, you may not care much given the big plot twist is revealed well before the film ends. Kidman is quite believable, though Firth struggles in an underwritten role that lacks a clear sense of any motivation behind his actions. It also wastes two terrific character actors in Strong, as her sympathetic doctor, and the likable Anne-Marie Duff from the TV show "Shameless" as her confused friend. The climax is well-staged but a tad predictable; if you go with your gut feeling, you'll figure it out in the first few frames, otherwise "Before I Go to Sleep" is a bit of a snooze fest.

John Wick - B

Rated R, 96 minutes
Wes's Grade: B

"John Wick" a stylish, violent revenge drama

The entertaining and smart "John Wick" is hardly anything new. The revenge flick has been kicking around since the Charles Bronson days, and while "John Wick" is predictable even from the first frames, you'll still have a good time in a serviceable entry in this genre. An ex-hitman named John Wick (Keanu Reeves) comes out of retirement to track down the gangsters that took everything from him. Directed by Chad Stahelski and written by Derek Kolstad, "John Wick" is not a revelatory film, though it's often fun and enjoyable seeing Reeves handle all those huge weapons he goes after the bad guys with. "Wick" is also terribly violent, though that's why it could become a hit at the box office and help reinvigorate this genre along with Reeves film career, which has stalled lately. Surprisingly, it also features a few talented names popping up in brief roles throughout the film: John Leguizamo, Ian McShane, Willem Dafoe and Bridget Moynihan all appear, though this is really Reeves show, and the role that requires minimal emotion (but some emoting) seems well-suited for the actor, who looks good for his age (50). The film's fight scenes are the highlight, and there's plenty throughout the movie, and you have the sense that the bad guys, no matter how bad they are, don't stand a chance against this guy. Creative, energetic and robust, "John Wick" is a must-see for those who enjoy these violent revenge flicks, but know there's few, if any, surprises, that come from it.

Birdman - A-

Rated R, 119 minutes
Wes's Grade: A-

Inarritu's brilliantly dark comedy "Birdman" soars

Alejandro Gonzalez Inarritu's richly satisfying, compelling new dark comedy "Birdman" is a superbly crafted technical and creative triumph, and one of the best films of the year. Expect to see plenty more of "Birdman" come awards season, including its leading and supporting cast. The movie tells the story of Riggan Thomson (Michael Keaton) an actor famous for portraying an iconic superhero - as he struggles to mount a Broadway play. In the days leading up to opening night, he battles his ego and attempts to recover his family, his career, and himself. "Birdman," written, directed and produced by Inarritu, is a masterful creation on several levels that's brilliantly acted and skillfully, thoughtfully put together. Everything you've heard about Keaton's performance is true - it's believable, affecting and multi-layered (including a memorable stroll through Times Square mid-film in his whitey tighties), and while he's sure to receive many accolades for a perfectly cast role that mirrors his own personal life and career, expect them for several members of the supporting cast too. Edward Norton, as the troubled, unlikable d-bag of an actor, is excellent, as is Emma Stone as his snarky daughter and Amy Ryan as his long-suffering, sympathetic wife, who has some of the film's most touching scenes with Keaton. Zach Galifianakis (in one of his best roles), Naomi Watts and Andrea Riseborough also contribute solid turns as members of Keaton's unpredictable inner circle. The film is also a stunning technical achievement: "Birdman" is told as one seemingly long extended take, showing that the director of such varied films as "21 Grams" and "Babel' isn't afraid to experiment, and here it really pays off. The realistic cinematography from Oscar-winner Emmanuel Lubezki ("Gravity"), the pulsating soundtrack and the seamless editing are all first-rate and help complete the rich, fluid texture of the film. Unconventional and provocative, "Birdman" is dark, somewhat detached and may not be for everyone; much like the main character itself it could often be misunderstood or misinterpreted. It's a poignant story about a man trying to rediscover himself through his past as he learns what works and what doesn't; part character study and part backstage drama, it all works brilliantly, and in the end, soars to new heights. One of the year's must-see films.

The Blue Room - B

Rated R, 76 minutes
In French with English subtitles
Wes's Grade: B

"The Blue Room" a sexy, stylish French thriller

The smart French mystery thriller "The Blue Room" explores what happens when an affair between two consenting adults goes very wrong. Efficient, talky and told largely in flashback, it's a contemporary, darker version "Fatal Attraction" as done by the French. The movie is about two adulterous lovers who go from pillow talk to possible murder. Julien (Mathieu Amalric, who stars, directs and co-writes), a middle-aged salesman embroiled in a steamy love affair with a married woman and old friend (Laurent Poitreneaux) who, after a round of kinky sex, makes a startling suggestion. Suddenly, Julien is caught up in a police investigation that is trying to figure out what all went wrong. Directed by Almaric and based on the novel of the same name by George Simenon, "The Blue Room" is tense, well-acted and unravels slowly, peppered with some sensuously believable sex scenes and a boisterous, piano-heavy score that gives the film some dramatic heft. Some of the themes touched upon here, murder and adulterous love, are hardly surprising, particularly the crime (which is revealed late in the film), but the solid performances and direction keep you engaged: Almaric and Poitreneaux make for a steamy couple, and as the jilted wife, who knows more than she lets on but keeps silent, French actress Lea Drucker is particularly affecting. The weaker last act is mostly an afterthought and the film is perhaps too short for the subject matter (it's only 76 minutes), but the parts that Almaric have assembled in "The Blue Room" keep you involved. "The Blue Room" manages to smolder (some of the sex scenes are graphically European, with full frontal nudity) and while it's not altogether revelatory, it's also dark and entertaining. Worth a look, especially if you like French films.

Whiplash - A-

Miles Teller and J.K. Simmons

Rated R, 106 minutes
Wes's Grade: A-

Ferocious Simmons highlights the riveting “Whiplash”

You know his face, even if you don’t know his name. He’s appeared in numerous films like “Juno” and “Spider-Man” and TV shows like “The Closer,” “Law and Order” and “Oz,” though he’s likely most noticeable from those “We are Farmers” Farmers Insurance commercials. After seeing the vastly compelling and superbly acted new drama “Whiplash,” you’ll know who J.K. Simmons is, who tears into the role of the villainous, sadistic music teacher with such muscularity and ferociousness that you’ll wonder why he doesn’t have more good roles like this (and if you’ve seen him in the aforementioned TV show “Oz” he's just as mean there). Andrew Neyman (Miles Teller) is a promising young drummer who enrolls at a cutthroat music conservatory where his dreams of greatness are mentored by Terence Fletcher (Simmons), a perfectionist music conductor who will stop at nothing to realize a student's potential talent. Directed and written by musician Damien Chazelle and based on a short film of the same name also directed by Chazelle, the hypnotic “Whiplash” unleashes an electric musical energy that pops with force, and it’s certain to be an Oscar contender, with a strong turn not only from Simmons, who's an early shoo-in for Best Supporting Actor at this point, but also Teller in a sublimely low-key, simmering performance that should garner him more accolades for the young actor who also impressed in last year’s dark “The Spectactular Now.” With solid direction and writing from Chazelle in his feature film debut, “Whiplash” remains mostly in tempo for much of the film, though there are a couple of false notes: the romance with another young college student (Melissa Benoist), isn’t well-drawn, and there is a key plot development in the film that unlike the stirring, often violent practice sessions (where Simmons comes alive in the movie), doesn’t ring with realism. The underlying themes are also familiar: that the mean teacher will inspire to greatness, and also that practice often makes perfect. In the world of real music, practice is not always a substitute for true talent, but it sure makes for a fine, entertaining film.  The searing finale, featuring one of the best, brutally and (literally) bloody good drum solos I’ve seen on film from Teller, will leave you breathless. Put the excellent “Whiplash” on your must-see of films to see this fall.

Exodus 50-minute preview

I had the opportunity to view a rough cut of 50 minutes of the new Biblical epic "Exodus: Gods and Kings" from acclaimed director Ridley Scott ("Alien," "Thelma and Louise" and "Gladiator" among many others) and starring Oscar-winner Christian Bale as Moses and Joel Edgerton as Ramses. Though I won't assign my usual "grade" since this was an uncompleted footage, what we saw was fairly impressive, highlighted by some excellent visuals and special effects, particularly in the handling of the plagues (the frogs were actually kinda scary). Bale also looks to be strong as Moses, though many will be interested how faithful the film will be to the Bible stories - will it channel Charlton Heston and Yul Brynner or will it meet the same wrath as Darren Aronofksy's "Noah," which still made money in spite of the many evangelical groups that lambasted it. The sublime visuals don't surprise, this is Scott's forte, but we will if the rest of the film holds up as well. I'm eagerly anticipating its December release.

St. Vincent - B

Rated PG-13, 103 minutes
Wes's Grade: B

Murray's curmudgeon one of his best in the heartfelt, fun "St. Vincent"

Bill Murray's unmistakable charm has never been more on display in the entertaining, bittersweet new dramedy "St. Vincent," and he's so good here I wouldn't be surprised if he's nominated for an Oscar for his role a cranky retiree turned babysitter. Vincent (Murray), a drunken, gambling war veteran retiree, gets recruited by his new single-mom neighbor Maggie (Melissa McCarthy) to watch over her small grown 12-year-old son Oliver (newcomer Jaeden Lieberher in his feature debut). Vincent's ideas of after-school activities involve racetracks and strip clubs, but eventually the mismatched pair begin to help each other grow up. Directed and written by Theodore Melfi in an auspicious debut, "St. Vincent," much like Vincent himself, is flawed and imperfect, but Murray nails another one of his malcontents so perfectly you won't mind. No, it's not an out and out slapstick comedy, it does have a little more substance to it than that, and for the record, it's one of those rare movies that'll leave you both laughing and crying (particularly at the climax), so be sure to have plenty of tissues on hand. It helps that the young Lieberher, gives a likable, mostly unaffected performance as Vincent's partner in crime, as well as the fact it's nice seeing McCarthy play something different (she's normal here) other than the tough-talking broads she has become typecast. "St. Vincent" isn't perfect though: the story is weathered and predictable (though tremendously fun) and as a Russian hooker that Vincent helps, talented Oscar-nominee Naomi Watts is miscast here and her role an unnecessary hindrance. Murray, a brilliant comedian and actor whose range is wide and often unpredictable, from army privates ("Stripes" still remains one of my favorites to this day) to U.S. Presidents to quirky Wes Anderson movies, has us wrapped around his finger for most of the movie, and there's little he could do or say here, as much as he tries, that would make us hate him. The enjoyable and touching "St. Vincent" is Murray at his best and for that this is one you should see.

The Book of Life - B

Rated PG, 95 minutes
Wes's Grade: B

Lively "The Book of Life" brims with energy, good time

The new animated comedy movie "The Book of Life" is a rollicking good time and one of the most original, well-made family films seen in some time. The movie tells the legend of Manolo (Diego Luna), a conflicted hero and dreamer who sets off on an epic quest through magical, mythical and wondrous worlds in order to rescue his one true love (Zoe Saldana) and defend his village. Directed and written by Mexican animator Jorge Gutierrez in his feature film debut as director, "The Book of Life" is a hilarious, colorful look at some Mexican heritage, and while it initially seems dark on the surface, it's actually a great deal of fun. It's memorably voiced by a talented cast, including Saldana, Luna, Channing Tatum, along with Ron Perlman, Ice Cube, Kate del Castillo, Gabriel Iglesias, Cheech Marin and even the likes of Placido Domingo, whose familiar singing voice is heard as well. Speaking of which, the movie is also filled with some nice covers of pop tunes, including "I Will Wait" and "Do Ya Think I'm Sexy?" Throw in some bulls, some pigs and a few portly, humming nuns and you're bound to laugh or at least giggle a few times, even though the themes (being yourself, et al) are hardly original, the enjoyable film itself is a bright, original animated entry from Reel FX Creative Studios and 20th Century Fox, who distributed the film. The kids, especially young ones, will particularly enjoy "The Book of Life," though adults will also leave with a big smile on their face. Clean, goofy fun for the entire family, "The Book of Life" is a rollicking, recommended adventure.

The Best of Me - C

Rated PG-13, 119 minutes
Wes's Grade: C

Sickly sweet and predictable, Sparks is at it again in “The Best of Me” with pretty people in (tragic) love

If you’re a fan of Nicholas Sparks – his books and accompanying movies – you know what to expect. Pretty people in love and some sort of tragedy befalls them, which is the basis of his new film “The Best of Me,” based on his bestselling novel of the same name. It should appeal most to Sparks’ large fan base, while the rest of us may roll our eyes. Years ago, Dawson and Amanda (James Marsden and Michelle Monaghan older/Luke Bracey and Liana Liberato younger) knew and fell for each other while they were in high school, where they had the time of their lives. Now, twenty years later, the two, by chance, find each other in the town they left and renew their relationship as adults. Directed and co-written by Michael Hoffman of “The Last Station” fame, the pleasant, predictable and overly sweet “The Best of Me” is typical Sparks, who also produces the film, and while the premise is “rekindling lost love” you can count on something bad and/or sad happening. The immensely attractive couple this time is Marsden and Monaghan, and told in flashback with their younger selves, played by an even prettier Bracey and Liberato. The flashbacks are slightly more compelling, only because Marsden and Australian actor Bracey bear absolutely no resemblance to each other at all (Bracey taller and leaner while Marsden shorter and stouter), and I had a hard time buying into Marsden’s older character: a strikingly handsome, intelligent man who's had absolutely no relationships with anyone for the last twenty years. Really? And there’s a point in the film where you know things are going just too good for something tragic not to happen, and it happens more than once in the film. I did like the charmingly gruff Gerald McRaney in a small part and Marsden and Monaghan in particular are likable though they can’t overcome the script’s penchant for tragedy. As a side note, the costume designer of the film, Ruth E. Carter, obviously adores backless dresses; and while the dresses themselves are fine, the lovely Liberato and Monaghan both wear them all through the film to the point they become noticeable (thanks to my astute, female moviegoing buddy Ellen for noticing that). If you’ve seen any of Sparks’ movies or read his books, you know to have tissues handy for the maudlin ending, as you’ll be crying right along with one of the film's central characters. “The Best of Me” isn’t the best of films, but Sparks knows his audience well and this should please them just fine. Go if you must, but know this is very much a date/chick flick if there ever was one.

Fury - B

Rated R, 134 minutes
Wes's Grade: B

WWII film "Fury" a brutal and intense experience

War is never a pretty subject, and if you're looking for a romanticized version of the war, then you won't find it in the stark, well-acted and powerful World War II movie "Fury." Though the story is fictional, the emotion and the brutality are quite realistic, and the battle sequences are superbly handled. The film is set in April, 1945 as the Allies are making their final push in the European Theatre, hardened army Sgt. "Wardaddy" Collier (Brad Pitt) commands a Sherman tank and her five-man crew (Logan Lerman, Michael Pena, Jon Bernthal and Shia LeBouf) on a deadly mission behind enemy lines. Outnumbered and outgunned, Wardaddy and his men face overwhelming odds in their heroic attempts to strike at Nazi Germany. Directed and written by David Ayer ("End of Watch"), the stirring, violent "Fury" shows how blurred the lines can get in war, and though it's slightly overlong, especially in the last act, it's an otherwise memorable tale. The film's intense battle scenes, which are peppered throughout the story, highlight the film, but it's also well-acted from a small set of actors; Pitt grounds the film well as the sympathetic sergeant, though wide-eyed Lerman, as the rookie assigned to a veteran team, and particularly a squirrelly LeBouf, as the Southern Bible-thumping solider, give more realized, memorable turns. "Fury" is not an epic film per se, as the scope limits itself to one section of the larger battle, but it expertly shows the bloody, often troubling realities of what war is and does to the men fighting it, on a slightly smaller scale. Under Ayer's solid direction and script, the film's battle scenes flow quite well, though there are a few scenes (one in particular inside the home of two German women seems to halt the film's energy) that could've been trimmed for the sake of continuity. The sets, costumes, sound and visual effects are all first-rate, and technically the film could be looking at some awards consideration come Oscar-time. The "Butch Cassidy"-style climax can probably be predicted, but even with its flaws, "Fury" is a memorable, entertaining and unsurprisingly, grisly, entry in the war film genre. Definitely worth a look.

One Chance - B-

Rated PG-13, 103 minutes
Wes's Grade: B-

"One Chance" tells the uplifting story of a real guy who became famous

Everyone loves a rags-to-riches story, and the charming new dramedy "One Chance" mines that formula perfectly as it tells the story of the first winner of one of Britian's popular reality talent shows. It's nothing new or revelatory and if you know the story you know how it turns out, but it's peppered with some touching moments. The movie tells the inspirational true story of Paul Potts (played by Tony-award winner James Corden), a shy, bullied shop assistant by day and an amateur opera singer by night. Paul became an instant YouTube phenomenon after being chosen by Simon Cowell for 'Britain's Got Talent.' Wowing audiences worldwide with his phenomenal voice, Paul went on to win 'Britain's Got Talent' and the hearts of millions. Directed by David Frankel ("The Devil Wears Prada") and scripted by Justin Zackham of "The Bucket List" fame, the pleasantly entertaining but unsurprising "One Chance" could be about any number of singers who hit it big (Kelly Clarkson comes to mind) on reality shows in the 2000s. The film is well-cast, with the immensely likable Corden, a British actor who has had some success across the pond but who you'll see much more of soon: he is replacing Craig Ferguson on his talk show and will also be seen in the big-budget musical "Into the Woods" at Christmas. He makes for a very appealing Potts, a talented but down-and-out singer who was once told by Pavarotti himself that he couldn't make it an opera singer. Potts, a normal schlub if there ever was one, would change that and more by going on "Britain's Got Talent" and taking the top prize; the film is wise to use Potts' own recordings, and the lip-synching is evident in some scenes (though Corden himself is a singer, though not classically trained as Potts was). The supporting cast is fun and includes a few familiar faces, including Alexandra Roach as his encouraging wife and the stalwart character actors Julie Walters and Colm Meaney as his well-meaning but often grumpy parents. Surprisingly, the movie doesn't spend as much as time as you might think on the "Britain's Got Talent" part of Potts' story, really the last 15 minutes are spent on that, while the rest of it is spent on Potts' downbeat life until then, and I wished to have seen more of Simon Cowell, but that is remarkably brief. Still, the upbeat and pleasantly entertaining "One Chance" is worth a look, and you'll also want to catch some of Potts' You Tube videos too to see the real thing.

Dracula Untold - C-

Rated PG-13, 120 minutes
Wes's Grade: C-

"Dracula Untold" a big-budgeted, stylish but dull version of the legendary vampire lacks bite

Dracula never seemed so bland in the new action thriller "Dracula Untold," a stylish, fast-paced but dull and unsatisfying version of the famous vampire that seems intent on turning Dracula into an action hero. The peacful reign of Transylvanian prince Vlad III Țepes ("Fast & Furious 6's" Luke Evans) is threatened by Sultan Mehmed II (Dominic Cooper), who demands 1,000 of his principality's boys, including Vlad’s own son, Ingeras, to join his army. In order to save his son, his wife Mirena (Sarah Gadon) and the kingdom he loves, Vlad enters into a special bargain with a dark sorcerer that gives him a special strength to defeat his enemies. However, he will be afflicted with an insatiable thirst to drink human blood and ultimately becoming legendary vampire Dracula. Directed by Gary Shore in his feature film debut as director and very loosely based on Bram Stoker's "Dracula," this vapid, stylish version of Dracula really lacks bite, and seems refashioned for the millennials: lots of special effects, lots of action and blood that pushes its PG-13 rating yet without much substance; much like the recent version of "Hercules" with The Rock that flopped, it has a lot of appeal but seems dumbed-down. Technically, some of it is sublime: the music from Grammy-nominated Ramin Djawadi is often compelling and the photography from John Schwartzman ("Saving Mr. Banks") is handsome, but the script from Matt Sazama and Burk Sharpless needs considerable more polish, but the directive to them seems to dumb it down for the new age, and a sluggish first 30 minutes doesn't help either. A lot of money was spent on this new version, much of it looks good (and if you like bats, there's a crapload of them here - albeit mostly CGI), and Evans is a handsomely bland vampire, but "Dracula Untold" needs much more substance and dark shadows to make an impact, and it seems to miss the point. Not worth it but many may take a look to see what it's about anyway.

The Judge - C+

Rated R, 142 minutes
Wes's Grade: C+

Downey and Duvall are terrific, but "The Judge" is too slick for its own good

Robert Downey Jr. and Robert Duvall are two stellar actors, and they don't disappoint in the mildly entertaining but overlong, slick new drama "The Judge," which seems well-suited to the two actors talents, not to mention the fall movie-going season. Hank Palmer (Downey), who returns to his childhood home where his estranged father, the town's judge Joseph Palmer (Duvall), is suspected of murder. He sets out to discover the truth and along the way reconnects with the family he walked away from years before. Directed by David Dobkin ("Wedding Crashers") and co-written by Nick Schenk ("Gran Torino") and Bill Dubuque, "The Judge" is a well-acted but overlong drama that lacks efficiency and realism. It's one of those movies so slickly packaged and so designed to entertain yet so unrealistic that it's one of those "it only happens in the movies" type of movie chock full of contrivances, including the fact that Duvall's character is brought to trial so quickly that this legal system seems to exist in an alternate universe. But together the RD's - Downey and Duvall - have such a natural chemistry - that you can nearly forgive the fact that this wouldn't happen in real life. Duvall is always solid in his own cranky, fun way, but Downey is particularly effective as the slick lawyer with daddy issues, and he has some of "The Judge's" better moments. The film benefits from a strong supporting cast too, including two fine character actors - Vincent D'Onofrio and Jeremy Strong - who shine as the older and young, slower-witted brother, respectively; Billy Bob Thornton is also perfectly cast as another slick lawyer who gives Hank a run for his money. In addition, I love the talented but underused Oscar-nominated actress Vera Farmiga as Downey's love interest, but to tighten it up a little, this romantic subplot (not to mention a couple of others that I won't spoil) really should've been cut from the movie. On that note, "The Judge" is about 20 minutes too long and the ending you can predict from the first moments that Downey and Duvall are onscreen together, though overall it has some enjoyable moments. There's no way this type of thing would ever really, truly happen, but the entertaining yet overlong "The Judge" has two actors you can count on in Downey and Duvall, and that could be enough for some. Sort of recommended, only for the Downey/Duvall pairing, but you'll be looking at your watch more than once.

Alexander and the Terrible, Horrible, No Good, Very Bad Day - B

Rated PG-13, 80 minutes
Wes's Grade: B

Charming, likable "Alexander" has fun having a bad day

The pleasant new children's movie "Alexander and the Terrible, Horrible, No Good, Very Bad Day" is a sadistic movie - but scrubbed up Disney style - and the film should really be called "Alexander and his family have a bad day." The movie follows the exploits of 11-year-old Alexander (Ed Oxenbould) as he experiences the most terrible and horrible day of his young life. He soon learns that he's not alone when his upbeat family, including mom (Jennifer Garner), dad (Steve Carell), brother (Dylan Minnette) and sister (Kerris Dorsey) all find themselves living through their own terrible, horrible, no good, very bad day. Anyone who says there is no such thing as a bad day just hasn't had one. Directed by Miguel Arteta ("Chuck and Buck") and written by Ron Lieber and loosely based on Judith Viorst's best-selling children's book of the same name (and this adaptation was preceded by a 1990 animated special), "Alexander" is a delightful, lighthearted movie that has fun with people having very bad days, sort of a cleaned-up, less sarcastic "Malcolm in the Middle" that changes the main focus from the boy to the parents (mainly due to the A-list status of Garner and Carell, who have fun here slumming it a bit). Done the Disney way, it's all good, clean fun, and there's nothing wrong with that: a kangaroo, a job interview, Dick Van Dyke (yes, you read that right), Peter Pan, a permanent magic marker, and the prom are all thrown into the mix, with a few good laughs here and there. As the titular character, lisping newcomer Oxenbould is charming, though as mentioned earlier, unlike the book, the movie is more focused on the hijinks of his family, in a sitcomy, episodic type way and he's too often in the background doing very little. It's thin and in the end doesn't amount to much, but the pleasant, entertaining "Alexander" is a solid family movie, and if it's a hit, you may find it as a new series on the Disney Channel or ABC Family.

Kill the Messenger - C+

Rated R, 112 minutes
Wes's Grade: C+

Jeremy Renner

Solid cast, story can't save the unsatisfying, uneven "Kill the Messenger"

The well-acted, uneven new thriller "Kill the Messenger" doesn't do the story of late journalist Gary Webb true justice. The first half is a fascinating look at how Webb wrote his stories uncovering government corruption, then seems to peter out on a downbeat note by the end of the movie. The film takes place in the mid 1990s, when acclaimed journalist Gary Webb (Oscar-nominee Jeremy Renner) uncovered the CIA's past role in importing huge amounts of cocaine into the U.S. that was aggressively sold in ghettos across the Country to raise money for the Nicaraguan Contras rebel army. Despite enormous pressure not to, Webb chose to pursue the story and went public with  it. As a result he experienced a vicious smear campaign fueled by the CIA and he found himself defending his integrity, his family, and his life. Directed by TV director Michael Cuesta and written by Peter Landesman, based on Webb's own "Dark Alliance" book and Nick Schou's novel of the same name, the serviceable "Kill the Messenger" has a great cast and an interesting story worthy to be told, but it falters down the stretch in giving a well-rounded look at Webb's story. The first half is particularly intriguing, even inspiring as it examines how Webb wrote his stories and the impact they had, but it somehow disappoints in the last act as it veers off toward Webb's personal life, which held little relevance on the situation as a whole. As the award-winning investigative journalist who uncovers a vital story to the U.S., Renner gives a sturdy, even clever performance as Webb that holds the film through its weaker moments in its last act. Problematic is the use of some solid characters in cameos; it amounts little more than stunt casting to see the likes of Andy Garcia, Michael Sheen, Robert Patrick, Paz Vega, Richard Schiff and Ray Liotta in blink-or-you-miss-it turns, and their presence seems more of a distraction than anything. Mary Elizabeth Winstead, Oliver Platt and Rosemarie DeWitt, however, are all solid in more substantial roles as his newspaper colleagues and wife, respectively. Unfortunately, all of it seems to run out of steam by the end, and the coda is particularly a downbeat one if you know anything about Webb's life (he committed suicide, which is alluded to in the film), all particularly sad given the contributions he made.  "Kill the Messenger" is a well-acted, modest film about a modest journalist who made some worthy contributions, but ultimately the story lacks power and seems an after thought. Worth a look if you like Renner, but you may be better off reading Webb's "Dark Alliance" book for yourself.

Good People - C-

Rated R, 90 minutes
Wes's Grade: C-

Crime thriller "Good People" lacks credibility, good script

If you discovered a duffle bag full of cash, what would you do? Many might turn it in to the authorities, some may keep and spend it on themselves, while others may hide it somewhere. That's the premise of the derivative, modestly entertaining crime thriller "Good People,"which lacks a believable story and plot in spite of its blandly appealing leads. Discovering a cache of cash in their dead tenant's apt, an American couple in debt (Kate Hudson and James Franco) take the money and find themselves the target of a deadly adversary-the thief (Omar Sy) who stole it and the suspicion of the local police (Tom Wilkinson). Directed by Danish film director Henrik Ruben Genz and written by Kelly Masterson, who wrote a superior crime thriller "Before the Devil Knows You're Dead" and the recent "Snowpiercer," "Good People" is a thoughtless, often dumb thriller in which normal people do dumb things like take a criminal's stolen cash and expect no one to find out. On that note, the most interesting character in the film isn't the bland "good people" of the title, but the bad guy, played with an evil gloss by French actor Omar Sy, best known for his role in the 2011 French hit "The Intouchables" as well as the corrupt police officer with a heart, played by an underused, always fine acclaimed British actor Wilkinson. Hudson and Franco are always likable, but the script lacks insight into their characters and while they're sympathetic, they're also not the brightest people around. As old saying goes, you should take the money and run, as long as its legit. "Good People," to its credit, moves quick and ends rather predictably, but there's not much else good about it. Skip it.

Left Behind - D-

Rated PG-13, 110 minutes
Wes's Grade: D-

Shoddy, cheesy "Left Behind" won't make you a believer

When you make a nearly 15-year old straight-to-video movie starring Kirk Cameron look like a masterpiece, you know you're in trouble. The new end times drama "Left Behind" manages to do just that, and is one big cheese ball, with the worst production values and acting I've seen onscreen this year. As a Christian myself, I'm embarrassed for my fellow believers, but mostly embarrassed for Oscar-winner Nicolas Cage, whose career has sunk to a new low with this piece of crap. Without warning, millions of people around the globe simply vanish in the Biblical event called "the Rapture". This causes vehicles to crash, rioting and looting. Airline pilot Rayford Steele (Cage) tries to deal with his hysterical passengers. He also has to try to land his plane when airports are filled with wrecks, as he wonders about his family. Journalist Buck Williams (Chad Michael Murray) struggles to understand this devastating event. Ray's daughter, Chloe (Cassie Thompson), struggles to find her mother and brother. Directed by noted British director Vic Armstrong and co-written by Paul LaLonde and John Patus and based on the popular Tim LaHaye and Jerry Jenkins novels, this shoddy, ham-fisted "Left Behind" won't gain any new followers, which is unfortunate, but it's so bad it's hard to sit through without laughing unintentionally. It seems most of the budget went to Cage's salary, since most of it takes place on a third-rate plane set that shakes periodically, and people running through the streets. According to the film, apparently the Christians were also the smartest group, since it takes an eternity for those left behind to actually figure things out. It would've at least been more fun if Cage, who can overact with the best of them, would've done some scenery chewing or stomping around as he likes to do, instead (and quite remarkably), he sleepwalks through the film, making "Left Behind" not only cheesy bad, just unwatchable and boring bad. The aforementioned 2000 Kirk Cameron film of the same name was a bad movie too, but it looks like a Best Picture winner compared to this cheeseball, which also features Lea Thompson and "American Idol" winner Jordin Sparks. My advice to my fellow Christians who want to tell others about the end times is: don't make them see the awful "Left Behind." Talk to them, take them to coffee - just anything but see this movie - which is one of the worst movies of 2014 and should easily take home a few Razzie Awards.

Gone Girl - B+

Rated R, 150 minutes
Wes's Grade: B+

Masterfully executed, tense "Gone Girl" a must-see

Well, I still hated the ending. Gillian Flynn's best-selling novel "Gone Girl" was an intense and engaging crime drama with a frustrating ending, and the movie is a faithful adaptation: intense and engaging with a frustrating ending. Superbly executedand well-acted with alternating moments of dark humor and disturbing intensity, "Gone Girl" is one of the year's best dramas and a must-see for devotees of the novel. On the occasion of his fifth wedding anniversary, Nick Dunne (Ben Affleck) reports that his beautiful wife, Amy (Rosamund Pike), has gone missing. Under pressure from the police and a growing media frenzy, Nick's portrait of a blissful union begins to crumble. Soon his lies, deceits and strange behavior have everyone asking the same dark question: Did Nick Dunne kill his wife? Directed by acclaimed director David Fincher from "The Social Network" and "Seven" fame, "Gone Girl" finds Fincher in his perfect element: a unique, masterful blend of crime, psychological drama and people doing bad things. In other words, it's pretty jacked up stuff for sure but so entertaining you won't be able to turn away. The stellar production values don't disappoint, with the flawless sets and photography, not to mention the well-placed, moody-jazzy score from Fincher's go-to music guys, Oscar-winners (from "The Social Network") Trent Reznor and Atticus Ross. Affleck is solid as the imperfect, somewhat clueless husband, who is generally a step behind his cunningly smart, devious wife Amy, in a most stunning, Oscar-worthy turn from British character actress Rosamund Pike, who you've seen many times before and just didn't know it (often alongside Simon Pegg in his comedies); one bloody good scene involving her character and another is so shocking and disturbing it'll leave you breathless. "Gone Girl" also benefits from a strong supporting cast, including Neil Patrick Harris, Tyler Perry (yes, that Tyler Perry), Sela Ward, Patrick Fugit, and especially two standouts, Carrie Coon as Nick long-suffering twin sister and Kim Dickens as the tough detective with the Southern drawl, both of whom deserve Oscar nominations for their affecting, memorable  supporting performances. "Gone Girl" isn't perfect: it's a little too long and it works better as an unhinged psychological portrayal than a crime drama, out of which comes the very divisive, frustrating ending that is unchanged (despite what you've heard) from the book. From a psychological standpoint, it works perfectly, but the "Law & Order" in you will want more resolution; I'm ultimately disappointed that Flynn (who wrote the screenplay from her book) didn't change it more. In spite of its flaws, the vastly entertaining "Gone Girl" is still richly satisfying, masterfully executed and diatrurbing though much like relationships (and perhaps marriage itself), you may remain devoted to it in spite (and maybe because of) your partner's flaws. Definitely worth a look.

Annabelle - C-

Rated R, 98 minutes
Wes's Grade: C

Just when you thought it was safe to collect dolls again comes the new horror film "Annabelle," the prequel to the hit 2013 horror film "The Conjuring." Uneven, slow and lacking the chills of its its predecessor, ""Annabelle" doesn't really get going until very late in the film. John Gordon (Ward Horton) has found the perfect gift for both his pregnant wife Mia (Annabelle Wallis) —Annabelle, a beautiful and rare vintage doll in a pure white wedding dress. Unfortunately, the family's delight with the doll is short-lived as it acts as a sinister conduit to the damned that is now Annabelle, seeking the couple's newborn daughter Leah as a sacrifice. Directed by John R. Leonetti, cinematographer for "The Conjuring," and written by Gary Dauberman, "Annabelle" is a weak efforts that's often as lifeless as the doll itself. It's peppered with a handful of tense moments, mainly in the last act, but it lacks the scares and the intensity of the James Wan-directed film (Wan produces here). The film is a fictional story, though the doll itself is indeed real and is owned by Ed and Lorraine Warren, who were the basis for "The Conjuring," though this film doesn't do them or the doll itself, which supposedly does harbor some evil elements, true justice. The producers of the film must've also spent considerable time finding an actress really named Annabelle (the lovely British actress Annabelle Wallis) to play the lead, in and of itself a fact creepier than the film itself. The first half is stuffed with a talky backstory and stale family drama, and doesn't really provide any true thrills until the final few minutes, and it wastes a decent, award-winning actress in Alfre Woodard. Do yourself a favor, stay away from creepy dolls, and stay away from the silly, boring "Annabelle" and rent "The Conjuring" instead.

The Good Lie - B

Rated PG-13, 108 minutes
Wes's Grade: B

Reese Witherspoon

"The Good Lie" is a fact-based drama about the Lost Boys of Sudan, who immigrated to the U.S. after being orphaned during their country's brutal civil war from 1983-2005. Heartfelt and well-acted, "The Good Lie" isn't an emotional powerhouse and it falters somewhat down the stretch, but overall it's an effective portrait of those who had to start over in a new country. Sudanese refugees Mamere (Arnold Oceng), Paul (Emmanuel Jal) and Jeremiah (Ger Duany)  who are given the chance to resettle in America, arrive in Kansas City, Missouri, where their encounter with employment agency counselor (Reese Witherspoon) forever changes all of their lives. Directed by Philippe Falardeau ("Monsieur Lazhar") and written by Emmy-nominated writer Margaret Nagle, who also co-wrote a documentary called "The Lost Boys of Sudan," "The Good Lie" is a touching drama loosely inspired by the stories of those refugees who were orphaned and started a new life by immigrating to the U.S. Though she headlines the film (perhaps used as a box-office draw for the movie), it's not really Witherspoon's movie - and though she is solid as always - her role is a supporting one, onscreen only for about 40 minutes of the film. On that note, the most memorable performances are the natural, unaffected ones from trio the unknown Sudanese actors who are the focus of the film, as well as Kuoth Wiel, an actual Sudanese refugee. The first act of the movie, focusing on the brutal Sudanese civil war, is difficult to watch but well-handled given the subject matter, and it becomes a little lighter as the men adjust to the new life in the States. The last act of the film is a little more uneven and the ending in particular doesn't seem to fit in with the rest of the film, lacking some emotional gravitas and poignancy, but on the whole, "The Good Lie" is satisfying and still works because of the likability of the actors and the appeal of the story, which has some affecting, humorous and quietly moving moments along the way.