Horrible Bosses 2 - C

Rated R, 108 minutes
Wes's Grade: C

Charlie Day, Jason Sudeikis, Jason Bateman

Slack, dumb "Horrible Bosses 2" not as fun as the first one

If it were my employee, I'd have to let go of the forgettable comedy sequel "Horrible Bosses 2" for being a slacker.  Mildly enjoyable but lackluster, it's what you expect: overly crude, contrived and only sporadically fun; it's not as near as original as the darkly fun 2011 film and unlike that film, this outing grows tiresome after awhile. After Nick (Jason Bateman), Dale (Charlie Day), and Kurt (Jason Sudeikis) decide to launch their own business, savvy entrepeneurs Burt Hanson (Christoph Waltz) and his son Rex (Chris Pine), appear to take them down. With no other viable option in sight, the trio decide to kidnap Rex in order to put up a ransom to take back their business. The lazy and predictable "Horrible Bosses 2," directed by "That's My Boy's" Sean Anders and co-written by Anders and John Morris, "Horrible Bosses 2" has its charming leads but a plot so silly and contrived, it's hard to buy in this time. It's also not as fun, given that some of the best parts of the first movie are given little to do this time out: Kevin Spacey only cameos and Jennifer Aniston and Jamie Foxx are criminally underused, and I wanted to see more of them, especially Foxx, who steals all his scenes here as their lowlife partner, MF (I will only use his initials here). "Star Trek's" Pine, along with Oscar-winner Waltz, who is blandly miscast here, don't have the comedic chops and are much more milquetoast than the trio of bosses from the first film, though they're very game physically. Day and Sudeikis, both smart comedians, are so annoyingly dumb in this one that it doesn't really make sense (I happen to enjoy both of them, though Day can be shrill at times), while Bateman seems confused and Waltz a little befuddled. The opening sequence was best, then it goes downhill after that, from there the film has only a handful of genuinely funny moments, one of them a funny sex scene with Aniston and Bateman shown on security cameras. You tend to know the mark of an unfunny film when the funniest part is the outtakes over the end credits, which is the case with "Horrible Bosses 2."  Skip this one and rent the original instead.

The Penguins of Madagascar - B

Rated PG, 92 minutes
Wes's Grade: B

Frenetic and colorfully busy, these "Penguins of Madagascar" make for a fun time

Super spy teams aren't born...they're hatched, quite literally. The energetic new animated movie "The Penguins of Madagascar," a spinoff from the "Madagascar" movie shows that spies come in all forms, even those that fly. Thin and entertaining, some of the humor will sail by the young ones, but they'll still get a kick out of it. The movie uncovers the secrets of the most hilarious covert birds in the global espionage biz: Skipper (Tom McGrath), Kowalski (Chris Miller), Rico (Conrad Vernon) and Private (Christopher Knights). They're joining forces with a smooth undercover organization, The North Wind, led a handsome gray wolf called Agent Classified (Benedict Cumberbatch). Together, they must stop the villainous Dave/Dr. Brine (John Malkovich) from destroying the world as we know it. Co-directed by Simon J. Smith ("Bee Movie") and Eric Darnell, who helped write and direct the "Madagascar" movies (along with the voice of the Skipper, McGrath), the bright and colorful "The Penguins of Madagascar" from Dreamworks Animation, the Penguins who stole scenes from those movies finally get their own big screen adventure, and it doesn't disappoint, though at the times it's a little dizzying and busy, particularly in the ultra fast-paced climax. These penguins prove that looks can be deceiving - they're cute, cuddly and quite cunning too - and they're all well-voiced by the McGrath and relative unknowns Miller, Vernon and Knights. They're joined by the always fun Malkovich, who makes for a terrific villain, and the ubiquitous Cumberbatch as their coy ally, along with the familiar Ken Jeong, whose voice you can easily spot in a crowd. The hijinks are colorfully and often creatively staged, though they get a tad redundant by the end, helped by some creative dialogue that puts a fun spin on celebrity names (the kids won't get it but their parents may), not to mention some overused cheese dibs, which have nearly as much screen time as the penguins. Pleasant, predictable and enjoyable, "The Penguins of Madagascar" is a fun diversion about penguins this Turkey Day.

The Hunger Games: Mockingjay - Part 1 - C+

Jennifer Lawrence as Katniss

Rated PG-13, 125 minutes
Wes's Grade: C+

Sluggishly entertaining "Mockingjay" the weakest of the "HG" movie series

The third time isn't always the charm. I had heard that the third entry in the "Hunger Games" literary trilogy, "Mockingjay," was the weakest of the three, which befalls the film series in a form similar to "Return of the Jedi" or "Star Trek III." More like "The Hunger Rebellion," this entry is slower, less action-packed and with an entirely different tone and scope than the previous chapters. Katniss Everdeen (Jennifer Lawrence) wakes up to find herself in District 13 after she literally shatters the games forever. Under the leadership of District 13 President Coin (Julianne Moore, well-cast here) and the advice of her trusted mentor Plutarch (the late Philip Seymour Hoffman) and friend Gale (Liam Hemsworth), Katniss spreads her wings as she fights to save Peeta (Josh Hutcherson) and a nation moved by her courage. Directed by Francis Lawrence (no relation to Jennifer and director of "Catching Fire"), "Mockingjay - Part 1" is a modestly entertaining but disappointing chapter in the "Hunger Games" film saga, though Lawrence (who also briefly sings in the film and has a decent voice) still grounds the film well with Katniss' vulnerability and toughness. The first two films, especially the second film, were action-packed, with the games sequences the chief highlight; this film has little of that excitement or romance: rebellion never seemed so dull and unsatisfying, seemingly a lackluster attempt to stretch out this series even further. This one is a totally different landscape and one that fans of the book series will most appreciate, though "Mockingjay" has some good points too. It's peppered with some entertaining, memorable moments, mostly provided by an underused supporting cast, including a sly Hoffman (who the film is dedicated to) and some holdovers from previous films, including Elizabeth Banks, sans most of her outrageous costumes and makeup yet still stealing scenes as Effie, along with Woody Harrelson and Donald Sutherland as Haymitch and President Snow, respectively. I also enjoyed the warm addition of Moore as District 13's President, who helps empower Katniss to new heights in the rebellion as well as some the insights the film has into using media to get the masses to buy into the rebellion (such as filming integral parts of it). As for the romance angle, there isn't much: Hutcherson's Peeta gets minimal screen time in this installment, so fans expecting some intimate action, I will say (without providing any spoilers), that it doesn't happen here, and even the other romantic interest, Gale (Hemsworth), doesn't do much either. After two solid outings, "Mockingjay" loses its footing a little and while it's not terrible, it's certainly a weaker effort, with less heart and excitement of the first two. Fans will enjoy it most, the rest of us will wait until the final installment next year at this time.

Dumb and Dumber To - C

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

There isn't much to the likable "Dumb and Dumber To" but you'll laugh anyway

Jim Carrey and Jeff Daniels

OK, I admit it. I found myself giggling more than I care to admit at the likable, mindless comedy "Dumb and Dumber To," the Farrelly Brothers' sequel to their twenty-year old blockbuster comedy "Dumb and Dumber," which took lowbrow comedy to a new high (or low however you want to look at it), even for them. "Dumb and Dumber To" continues the crude silliness, and while the talented leads still pack some charm, there isn't much to it. Twenty years after their last adventure, and after Lloyd reveals his long-lasting prank, good-hearted, yet dimwitted best friends, Harry Dunne (Emmy-winner Jeff Daniels) and Lloyd Christmas (Jim Carrey) head out in search for Harry's long lost daughter Penny (Rachel Melvin), and Lloyd is in love again (with Harry's Daughter). Written and directed by Peter and Bobby Farrelly, "Dumb and Dumber To" is enjoyable fun as it continues the hijinks of charming buffoon Harry and Lloyd, though overall it's a thin effort at a sequel, even for a crude comedy such as this. For the record, those that enjoyed the first one will enjoy this one too, but even fans will admit that this one isn't as good; the crass idiocy of the first one was what made that one memorable (and one fans can recite by heart - at a recent screening there was a contest to see who could complete the "Dumb and Dumber" line and there was at least one person in the audience who could), this one not as much. It starts off modestly well but the Farrelly's weak script goes nowhere and goes on much too long for a comedy like this, with some stretches that are hit and miss (Mama June's cameo falls flat). Still, Carrey and Daniels remain a fun pairing and they do their best to make you laugh, and often they succeed, whether it's driving a zamboni or a hearse down the highway, annoying Rob Riggle or ogling Kathleen Turner - yes that Kathleen Turner - whose voluptuousness is well-placed here - it's those little off-kilter touches that seem to have the most effect, and Carrey in particular remains a brilliant physical comedian. "Dumb and Dumber To" is a likable, middling effort that's not bad per se (at least not as bad as you might think), but still not as funny as the first film.

The Theory of Everything - B+

Rated PG-13, 123 minutes
Wes's Grade: B+

Eddie Redmayne as Stephen Hawking

Fascinating "Theory of Everything" tells the remarkable story of Stephen Hawking

Everyone on the planet probably knows who renowned astrophysicist Stephen Hawking is, but you may not know who British actor Eddie Redmayne is (he has been in such movies as "My Week With Marilyn" and "Les Miserables." You will after seeing the compelling, uplifting new drama "The Theory of Everything," which features a remarkable, breakthrough turn from Redmayne as the famous scientist. "Theory" is the story of Hawking (Redmayne), and Cambridge student Jane Wilde (Felicity Jones), with whom he would fall deeply in love with and marry. Once a healthy, active young man, Hawking received an earth-shattering diagnosis at 21 years of age. With Jane fighting tirelessly by his side, Stephen embarks on his most ambitious scientific work, studying the very thing he now has precious little of - time. Directed by Oscar-winner James Marsh ("Man on Wire") and written by Andrew McCarten based on Jane Wilde Hawking's non-fiction novel "Traveling to Infinity: My Life With Stephen," "The Theory of Everything" is an entertaining, superbly acted biography of Hawking as well as a touching love story. Redmayne's transformative, tour-de-force turn is this year's Daniel Day Lewis or Matthew McConaughey, and he is the front-runner for Best Actor. Redmayne is effective at capturing some of Hawking's subtleties, from when he was first diagnosed as he continues to morph into the famous scientist we know today. The last act, when Hawking loses his voice and speaks through a computer (that's Hawking's real computerized voice for the film), Redmayne must use his body to convey emotion, and does so magnificently, most memorably in a moving scene when he and Jane must part ways after many years of marriage. As wonderful as Redmayne is, as his long-suffering, incredibly courageous wife who stuck by his side, Jones also shines in an Oscar-worthy performance, especially in the final act. "The Theory of Everything" isn't without its flaws: as with any bio movies, it's not expansive, overlooking many details of Hawking's life, and it retains a cheerful, upbeat tone even after Hawking's seemingly fateful diagnosis, lacking a dark, hard-hitting edge to it. Still, "The Theory of Everything" is a poignant tribute to Hawking, and a moving love story, even after Stephen and Jane grow apart. It's also worth a look for two Oscar-worthy performances from Redmayne and Jones. Put this one on your must-see list.

Beyond the Lights - C+

Rated PG-13, 102 minutes

Wes’s Grade: C+

Gugu Mbatha-Raw and Nate Parker

In spite of an appealing cast, what’s “Beyond the Lights” is pretty dull, bland

The new romantic drama “Beyond the Lights” isn’t as much fun as a VHI “Behind the Music” special, though the appealing leads and strong supporting cast do their best to make it work. Overstuffed with way too many ballads (just about every scene transition has a different one) and a predictable romance, “Beyond the Lights” is a slick but dull affair. Noni (Gugu Mbatha-Raw from “Belle”) is the music world's latest superstar. But not all is what it seems, and the pressures of fame have Noni on the edge - until she meets Kaz Nicol (Nate Parker of “Red Tails”), a young cop and aspiring politician who's been assigned to her detail. Drawn to each other, Noni and Kaz fall fast and hard, despite the protests of those around them who see more potential in their careers than their love. Directed and written by Gina Prince-Blythewood, the talented director and writer behind “Love and Basketball” and “The Secret Life of Bees,” the mildly entertaining but contrived romantic drama “Beyond the Lights” is a chick flick with a capital “C” unsurprisingly appealing mainly to women. The lovely, vastly talented Mbatha-Raw, an intriguing actress from the affecting, underrated “Belle” earlier this year continues to emerge as one of cinema’s most talented young actresses, and she rises above the stale conventions of the material. The highlight is her stirring version of R&B legend Nina Simone’s “Blackbird” in the last act, which is far better than most of the ballads that fill the film. She and Parker make for a handsome pairing, but the sluggish plotting and the banal dialogue don’t help things, though it’s always nice to see the warm Danny Glover as Kaz’s father and the ice queen herself, Minnie Driver, memorably chewing through scenery as Noni’s wicked stage mother, who seemingly has the best intentions for her. The film moves so slowly that by the time Parker conveniently removes his shirt to help Mbatha-Raw, you'll be rolling your eyes through the yawns. “Beyond the Lights” is a mostly lackluster, well-worn and pretty stale romance, though the lovely, talented Mbatha-Raw is definitely someone to watch.

Rosewater - B-

Rated R, 103 minutes
Wes's Grade: B-

"Rosewater" is Stewart's compelling but flawed political drama

Most people know comedian Jon Stewart from his satirical, Emmy-award winning TV show "The Daily Show" but his new movie "Rosewater" is far from a laughing matter. Based on a true story of a journalist imprisoned in Iran, it's a compelling, well-acted but slow-moving tale that probably would've been more effective with a more skilled director. In 2009, London-based Iranian-Canadian journalist Maziar Bahari (Gael García Bernal) was detained in Iran for 118 days because of an interview he gave regarding the country's presidential election. Bahari was arrested and accused of being a spy and spent four months at Evin Prison being brutally interrogated. Bahari was usually blindfolded when being interrogated, and the sole distinguishing feature of his interrogator was that the interrogator smelled of rosewater. Directed and written by Stewart in his feature film debut behind the camera and based on Bahari's best-selling account of the story, "Then They Came for Me," "Rosewater" is a serviceably handled, intriguing political drama peppered with a few stirring moments and a nice performance from Bernal as Bahari, though under someone like Paul Greengrass or Kathryn Bigelow, it would've been much better. It lacks the edge and brutality of "Midnight Express" or the political scope of "Zero Dark Thirty" and the second act in particular doesn't really do much, but overall it's a decent effort, with a couple of memorable supporting turns from Danish actor Kim Bodnia as his interrogator and Oscar-nominee Shohreh Aghdashloo as his long-suffering mother. "Rosewater" shows that Stewart, who's always been comfortable in front of the camera on the small screen, is fairly adept behind the scenes of a big screen effort, though a handful of nice but unnecessary touches show his novice as a feature film director (case in point: the brief exposition doesn't really need to unfold in pictures on the frames of store fronts). "Rosewater" has a certain attachment to its story that will naturally draw you in, even if Stewart's somewhat bland execution doesn't always do so, and on that note it needs more power and emotion. "Rosewater" is a good, entertaining film though it may have limited appeal to Stewart's fan base and/or news junkies who follow this type of thing.

Foxcatcher - B

Rated R, 130 minutes
Wes's Grade: B

Excellent performances highlight the slow-moving character study "Foxcatcher"

Steve Carell as John Du Pont

"Foxcatcher" is not an emotional powerhouse of a movie on a broad canvas. Instead, it's an intimate character study in slowburn mode. On that note, it may not be for everyone: slow-moving, thoughful and very deliberate, yet featuring an excellent, Oscar-worthy turn from an actor better known for his comedic skills. The movie the tragic story of Olympic Gold Medal-winning wrestler Mark Schultz (Channing Tatum), who sees a way out from the shadow of his more celebrated wrestling brother Dave (Mark Ruffalo) and a life of poverty when he is summoned by eccentric multi-millionaire John du Pont (Steve Carell) to move onto his large estate known as Foxcatcher and train for the 1988 Seoul Olympics as part of his Foxcatcher team. When Dave eventually joins them to help the Foxcatcher team, it begins an unlikely alliance that leads to tragic circumstances. Directed and written by Oscar-nominee Bennett Miller, who helmed "Capote" and "Moneyball" to acclaim, the absorbing "Foxcatcher" is a superb, small-scale yet complex portrait of people struggling to connect in their own way. Like Miller's aformentioned films, this is a true story, though a very sad one whose circumstances often cast a pall on the film (Du Pont killed Dave Schultz under a load of mystery), though it doesn't detract from the compelling characters. The dark, quiet tone is not a huge draw, though the acting is; the chief reason to see the film is Carell in a stellar, much-talked about performance under a load of makeup as the awkwardly creepy Du Pont, whose loneliness seemed to be a driving force behind his desire to connect with athletes in a sport he knew nothing about. He provides the film with its most intriguing, even darkly humorous moments, making "Foxcatcher" a worthwhile movie; it's a fascinating, disturbing and against-type turn from Carell whose is far different here than his typically zany comic roles and one that should net him a deserved Oscar nomination. Both Ruffalo and Tatum are also strong as the brothers, and their chemistry is almost as memorable as Carell; Miller elicits believable performances from the pair, especially from Tatum in a role far deeper than he is accustomed to playing, relying on a lot of unspoken body language to communicate their feelings. Miller is a skilled director, though there are many angles he curiously chooses not to explore in "Foxcatcher," primarily as to what would drive Du Pont to murder Dave Schultz in the first place - was it mental illness, drugs, loneliness, jealousy, etc? That is mostly left a mystery, and instead Miller makes it a pensive, muted character study; his minimal use of a musical score allows focus on the characters though occasionally it's so awkwardly quiet you can hear a pin drop. "Foxcatcher" is slightly overlong and a little too somber, but is otherwise a thoughtful and compelling look at what drives us to connect with other people.

Laggies - B

Rated R, 100 minutes
Wes's Grade: B

Dramedy “Laggies” a charming coming-of-age for the 20s set

If the new movie “Laggies” was an animal, it’d likely be a middle age cat: somewhat playful, predictable and usually pretty leisurely, maybe purposefully so. If you see “Laggies” you will understand that more, but it’s a charming, enjoyable coming-of-age story for late twenty-somethings in need of more adult responsibility. Solidly cast with some believable performances, it’s also predictable and rambles a little much in its mid-section, but the appealing leads keep it afloat. Overeducated and underemployed, 28 year old Megan (Keira Knightley) is in the throes of a quarterlife crisis. Squarely into adulthood with no career prospects, no particular motivation to think about her future and no one to relate to, Megan is comfortable lagging a few steps behind - while her friends check off milestones and celebrate their new grown-up status. When her high-school sweetheart (Mark Webber) proposes, Megan panics and- given an unexpected opportunity to escape for a week - hides out in the home of her new friend, 16-year old Annika (Chloë Grace Moretz) and Annika's world-weary single dad Craig (Sam Rockwell). Directed by Lynn Shelton (“Humpday”) and written by Andrea Seigel, “Laggies” is an engaging dramedy that intentionally takes time to develop its characters, buoyed by the always lovely Knightley and the sprightly Rockwell, who seemingly steps in and breathes some life into the film. Without Rockwell, whose character brims with a sarcastic honesty, the film would be less effective, particularly because the characters Rockwell and Knightly inhabit are fueled by a calculated appeal that you pick up on from the first moment their characters meet. It’s also nice seeing Moretz in a more fully realized role, and her mentor-ish relationship with Knightley’s Megan gives a film a certain edge; it’s not really a teen movie per se, but movies in which teens play an important role. Also memorable in the solid supporting cast is Mark Webber as Megan’s longsuffering, eternally optimistic boyfriend/fiance; Jeff Garlin as Megan’s imperfect father and Ellie Kemper as an honest friend. “Laggies” lags a little mid-section a little too leisurely, and a subplot involving Annika’s mother doesn’t fit perfectly in the picture, but overall it’s an affecting, entertaining coming-of-age story, with the always funny Rockwell stealing the movie.

Big Hero 6 - B-

Rated PG, 95 minutes
Wes's Grade: B-

Zany, zippy and a little busy, the young ones will enjoy Disney’s Marvel-infused “Big Hero 6”

Disney’s colorful new animated movie “Big Hero 6,” a blend of robots, Marvel comics and Japanese anime, has enough boundless energy, particularly in its last act, to appeal to many hyperactive children who will enjoy all the bounce and movement of the story. It’s nothing new, though the first “WALL-E” inspired act is much better than the “Avengers” style madness that comes in the climax.  Robotics prodigy Hiro Hamada (Ryan Potter), who learns to harness his genius-thanks to his brilliant brother Tadashi (Daniel Henney) and their like-minded friends: adrenaline junkie Go Go Tamago (Jamie Chung), neatnik Wasabi (Damon Wayans Jr), chemistry whiz Honey Lemon (Genesis Rodrigues) and fanboy Fred (TJ Miller). When a devastating turn of events catapults them into the midst of a dangerous plot unfolding in the streets of fictional San Fransokyo, Hiro turns to his closest companion-a robot named Baymax (Scott Adsit)-and transforms the group into a band of high-tech heroes determined to solve the mystery. Co-produced by John Lasseter, who helmed some of Disney/Pixar’s finest movies including “Toy Story,” directed by Don Hall and Chris Williams and based on the “Big Hero 6” Marvel comics series, the entertaining “Big Hero 6” is frenetic, fast-paced and literally jammed-packed with bouncy action in its second half. Overall, it’s not the best Disney effort (this is the 54^th animated Disney effort), nor the worst by any means, just appealing to a different mindset that can handle the busyness of it all. The more effective parts concern the relationship between Hiro and robot Baymax, who seems a low-key combination of “WALL-E” and the staypuff marshmellow man from the “Ghostbusters” films.  The film becomes too zippy and even dizzying in its final moments, but its colorful, well-voiced, most memorable the always-fun T.J. Miller, Adsit as the robot and stalwart James Cromwell, who has fun in a good/bad role. “Big Hero 6” is hardly a subdued effort and comes recommended for young kids, who’ll get a kick out of it all, while their parents may opt for something a little quieter and less frenetic.

Interstellar - C+

Rated PG-13, 169 minutes
Wes's Grade: C+

Nolan's grand time/space epic "Interstellar" tediously entertains

The new Christopher Nolan epic space film "Interstellar" sure takes its time. In its quest to solve the space-time continuum and mix it with human emotion, the movie is both compelling and well-acted, though the overly ambitious, lackluster script doesn't help its case. Lacking a sense of efficiency felt with his other films, "Interstellar" has some worthy moments but is a disappointment compared with his other work. When a wormhole in space is discovered, explorers and scientists (including Michael Caine and Anne Hathaway) unite to embark on a voyage through it, transcending the normal limits of human space travel. Among the travelers is a widowed engineer, Cooper (McConaughey), who must decide whether or not to leave his two children (Mackensie Foy and Timothee Chalamet younger/Jessica Chastain and Casey Affleck older) behind to join the voyage and attempt to save humanity from an environmentally devastated Earth finding a new habitable planet in another galaxy. Directed by Nolan, who co-wrote with his brother Jonathan, "Interstellar" attempts to solve how to save mankind on Earth by essentially exploring new places to inhabit. Slick and entertaining but about 30 minutes too long, it's similar in scope to some of other Nolan's films ("Memento" and "Inception" come to mind in this case), which become larger and more complex with each of his movies; it's an intriguing yet very heady idea with some engrossing moments, but often frustrating to grasp, particularly in its later, more preposterous moments. Energetically scored by Nolan's go-to guy for music, Hans Zimmer and handsomely photographed by "Her's" Hoyte van Hoytema, the technical aspects, as with all of Nolan's films, are first-rate, but the film isn't without some big flaws. The flat dialogue and tedious second act, which is heavy with spaceship drama including an unnecessary subplot involving a miscast Matt Damon, drag the movie down, making it feel much longer than necessary; as well, the blocky robots (one of whom is well-voiced by character actor Bill Irwin), seem as clunky as its dialogue. Of the large cast, McConaughey and a less annoying Hathaway are both solid, though a fiery Chastain, who doesn't come into the film until well in the second act, is the standout in a more affecting, fully-realized role; if McConaughey is the heart of the movie, Chastain is its soul, and the movie is more in-synch when she is onscreen. Even more puzzling than some of the plot's oddities is why the movie is so shrouded in secrecy, given its big climax and supposed twist is ho-hum in terms of emotional heft and payoff. Nolan should consider a return to making a smaller, more intimate movie than trying to solve the world's problems - and not to give anything away - he misses by a long shot here. If he and "Interstellar" had solved the space-time continuum and the theory of relativity, tell that to my bladder, which didn't make it through its excessive 169-minute running time. The modestly entertaining but too-ambitious "Interstellar" has some good moments and may appeal to Nolan's fan base, but he's done better.