My Best & Worst Movies of 2014

Well, another year has gone by, and quickly. I can't believe 2014 went by so fast, and filled with many highs and lows cinematically. Overall, it wasn't a stellar year for movies, but a strong showing at year-end made up for an otherwise middling year at the movies, particularly during the summer, which had its worst season at the box-office in years. Here's looking ahead to a great 2015 for movies (Star Wars, Minions, Avengers and more are coming!).

Wes's Favorite Movie of 2014:

This movie is also included in my top 10 list below but is my personal favorite of the year.

Past year-end favorites since I started publishing my reviews in 2006:
Gravity (2013)
Silver Linings Playbook (2012)
The Descendants (2011)
(Tie) 127 Hours and The Social Network (2010)
Up in the Air (2009)
The Dark Knight (2008)
Ratatouille (2007)
The Departed (2006)

Joining that that list is this year's personal favorite: Whiplash

Why? J.K. Simmons is a lion. Hear him roar.  The familiar face and character actor known for supporting turns in many films, movies and commercials (every time I see him I hum the "We are Farmers" theme from the Farmers Insurance TV commercials) has a ferocious turn as the sadistic music teacher who abuses Miles Teller (also excellent here) will absolutely scare you, but that drum finale will also leave you breathless. Even more impressive is the fact this is "Whiplash" writer and director Damien Chazelle's second feature film. If you haven't seen it yet, stop reading this now and run to the theater. You will want to buy a drum set afterwards.

Best Movies  (except for Whiplash, in no particular order)

Birdman - Michael Keaton, one of the year's best actors, in a great comeback turn.
Whiplash - See above. J.K. Simmons gets my vote for Best Supporting Actor in a stunning, sadistic performance.
Selma - The year's most riveting, stirring film about Martin Luther King Jr. and the Civil Rights showdown in Selma, Alabama. If I were voting for the Oscar for Best Picture, this is the film I'd go with.
The Grand Budapest Hotel - the year's best quirky ensemble film from Wes Anderson.
Life Itself - the year's best (and most touching) documentary, about the late film critic Roger Ebert.
Gone Girl - the year's most-talked about film based on a much-talked about novel, in a sizzling turn from British actress Rosamund Pike in the title role.
Boyhood - earthy, affecting and tender movie about a boy growing up, from Richard Linklater.
The Lego Movie - the year's funniest, most original and most awesome animated movie.
The Imitation Game - the year's sleeper hit, a compelling real life drama starring Benedict Cumberbatch, is superbly acted.
Snowpiercer - wild, over-the-top and often just plain strange, this thriller from acclaimed South Korean filmmaker Bong Joon-ho is one of the year's most crazy fun movies, with a memorable turn from the always weird and wonderful Tilda Swinton (her unusual song mid-film is a highlight).
Begin Again - the year's most engaging indie and romantic comedy, with charming turns from Mark Ruffalo and Keira Knightley, and a handful of great tunes too.

NOTE: There are a handful of films (and potential award contenders), including Still Alice, Mr. Turner and Cake that I have yet to see.

Honorable Mention:

Wild, American Sniper, Big Eyes, Nightcrawler, Guardians of the Galaxy, St. Vincent, Chef, X Men: Days of Future Past, Captain America 2: The Winter Soldier, The Book of Life, Belle, How to Train Your Dragon 2, The Theory of Everything.

Worst Movies (in no particular order)

Transformers: Age of Extinction - yet another 3-hour, clanging, headache-inducing blockbuster piece of crap from Michael Bay.
Transcendence - Johnny Depp, please stop.
Left Behind - please leave us behind rather than watching this dreck; a new low for Nicolas Cage.
Tusk - a new low for Kevin Smith, who took Depp with him this time (this one is all Smith's fault though). This dark, twisted horror comedy is virtually unwatchable.
Teenage Mutant Ninja Turtles - as if Transformers weren't enough for Michael Bay.
Blended - Adam Sandler's attempt at comedy again. Poor (but still lovely) Drew Barrymore too.
A Million Ways to Die in the West - Seth MacFarlane made that profane teddy bear look like a genius.
Haunted House 2 - Shawn Wayans is funny. This unnecessary sequel comedy, which borders on soft porn, is not in anyway, shape, or form funny at all. My selection for the worst movie of 2014.
Ride Along - Sure, this shrill buddy-buddy comedy with Ice Cube and Kevin Hart was a big hit, but also super annoying given that Hart's penchant to scream. A lot. Dude, that doesn't make you funnier.
Sabotage - Schwarznegger crime action movie again. Low expectations for the movie bottomed out.

Dishonorable Mention:

I, Frankenstein, God's Not Dead, Vampire Academy, Single Mom's Club, Pompeii, Sex Tape, The Other Woman, The Legend of Hercules, Dracula Untold, The Expendables 3.

The Interview - C+

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

Controversial but silly "The Interview" is a strictly hit and mostly miss comedy

So this is it? That's what I was thinking after I watched the mediocre new comedy "The Interview." I'm unsure as to why it has stirred up so much controversy, though I'm glad it finally finds its way to select theaters and online after being scuttled by Sony from the major theater chains following some empty threats from online hackers (and supposedly North Koreans). Without giving too much away, I will say - there's really not much to it - and what is there is only moderately funny at best. Celebrity journalist Dave Skylark (James Franco) and his producer Aaron Rapoport (Seth Rogen) secure an interview with North Korea leader Kim Jong-un (American actor Randall Park) and are instructed by the CIA to assassinate him. Co-directed by Rogen and his usual collaborator Evan Goldberg and written by TV producer Dan Sterling, the profane and charming "The Interview" is a mixed bag: it's as if a couple of stoners hijacked "The Daily Show" or "The Colbert Report,"there are a handful of funny moments but falters under a rather dumb, unfocused script. The plotting is thin enough on U.S. soil, but it clearly falters when it reaches North Korea in its second act and loses some footing under a load of unnecessary hijinks and subplots. Honestly, Rogen and Franco have both done much better before, and it doesn't help that it seems more of an overlong, silly vanity project for them, both of whose most annoying traits come out: Rogen's chattiness and Franco's excessive preening and overacting (I really wanted to punch him more than once just to shut him up). North Korea and its Supreme Leader may not exactly be pleased with the portrayal of its country and leader, though Americans should be more upset at the portrayal of the buffoons hired to kill Kim Jong-un (who, according to the movie, seems to have adopted many Western practices: he has a bunch of nice cars, listens to Katy Perry and likes margaritas). Some of the tabloid TV jokes early on were fun - a gay Eminem and a bald Rob Lowe among them - but after that the stereotypical jokes grow thin and it all but falls apart in a last act that doesn't fit with the rest of the film. "The Interview" is a mildly entertaining, hit-and-miss comedy that will only have notoriety for the fact it was nearly brought down by a totalitarian regime, and not for the fact that it was a smart and funny comedy. Considering all that has happened recently, it's a disappointment, but go see it if you must just to tick off The Supreme Leader.

Selma - A

Rated R, 122 minutes
Wes's Grade: A

Stirring, riveting Civil Rights drama "Selma" one of the year's best

The compelling Civil Rights drama "Selma" co-produced by Brad Pitt and Oprah Winfrey (who also appears in a supporting role) is a moving, unshakeable portrait of what it took to gain the right for all to vote in the United States. More than just a sweeping history lesson and literally starting off with a bang in the film's first few frames (and it comes quite unexpectedly, you'll be jolted), the superbly acted "Selma" is also a stirring reminder that many made sacrifices for others. The film chronicles the tumultuous three-month period in 1965, when Dr. Martin Luther King, Jr. (David Oyelowo) led a dangerous campaign to secure equal voting rights in the face of violent opposition. The epic march from Selma, Alabama to Alabama's capital, Montgomery, culminated in President Johnson (Tom Wilkinson) signing the Voting Rights Act of 1965, one of the most significant victories for the civil rights movement. Masterfully directed by Ana DuVernay and written by Paul Webb, "Selma" is a fascinating, powerful behind-the-scenes look at the Civil Rights Movement in the South. DuVernay is part emotional history lesson and part insightful character study, though it leans toward the former instead of the latter, but all of it is rounded by excellent performances. The large cast is led by Oyelowo's sublimely pitch-perfect, impassioned performance as King, one of the strongest performances this year and one that's sure to garner him an Oscar nomination. Of the varied, strong supporting cast Wilkinson and Roth are most memorable, as LBJ and George Wallace, respectively, while Oprah herself gets in a few good scenes as Annie Lee Cooper, the woman who wasn't afraid to deck Selma's racist sheriff. There are a handful of gripping scenes that DuVernay skillfully handles, including the showdown at the Selma courthouse and the Bloody Sunday crossing of the Pettus Bridge in Montgomery, which is both stunning and electrifying; "Selma" doesn't shy away from the violence of the day, and while difficult to watch, provides help in understanding the movement. However, "Selma's" most moving scene is an intimate scene involving King and the father of a murdered protestor that will leave you considerably moved. As a character study, it doesn't shed much light into the complexity of King the man; we see some of his flaws and imperfections though the movie doesn't expound on them; the film is content with weaving King's personal story into the larger one at hand, and for what it is, works fine. Energetically scored by jazz musician Jason Moran and handsomely photographed by Bradford Young, it perfectly conveys the mood and the sights and sounds of the time frame. Uplifting, riveting and expertly crafted, the deeply satisfying "Selma" is a must-see and is one of the best films of the year.

Opens in limited release on Christmas Day and wide release in early January.

Unbroken - B

Jack O'Connell as Louis Zamperini

Rated PG-13, 137 minutes

Wes's Grade: B

Intense, uplifting yet flawed, “Unbroken” is a worthy look at a war hero 

There’s an endless amount of uplifting, inspiring stories, and the true story of war hero Louis “Louie” Zamperini is among the most inspiring, and even more remarkable is the fact that it hasn’t been told on film until now. Angelina Jolie’s “Unbroken” is a moving, often brutal portrait of Zamperini, and while Jolie does an impressive job of bringing the story to the screen in only her second feature film as director, some of it seems emotionally distant. “Unbroken” follows the incredible life of Olympic runner and World War II hero Zamperini (played by British actor Jack O’Connell in a strong performance), a former Olympic track star, survives a plane crash in the Pacific, spends 47 days drifting on a raft, and then more than two and a half years living in several Japanese prisoner of war camps. Directed and co-produced by Jolie and co-written by Joel and Ethan Coen (an interesting but solid choice here), the entertaining “Unbroken” is a sublimely handled, poignant tale that is often difficult to watch, particularly from the abuse that Zamperini endured in the Japanese POW camp. Based in part from Laura Hillenbrand’s best-selling biography of Zamperini, it follows the first part of his life from troubled youth, to Olympic runner to war hero. There’s much to like about Zamperini and the film version of his story and Jolie has assembled it well: the score from acclaimed composer Alexander Desplat and the cinematography from veteran Roger Deakins, who has handled most of the Coen brothers films, is handsome and energetic and adds to the flow of the film, not to mention the film is well-cast. O’Connell is stout, engaging and believable as Zamperini, grounding the film well, in addition to a strong supporting cast that includes Domhnall Gleeson and Garrett Hedlund as some of of his war buddies, as well as Japanese rock star Miyavi as real-life Japanese sergeant “The Bird” Watanabe, who brutally beat many POW’s, including Zamperini. However, even with its good qualities, not all works perfectly in "Unbroken." The section with Zamperini languishing at sea goes on too long, giving way to the most memorable section of the movie, the POW camp section and the beatings, which are painful to watch yet gives you a genuine sense of what Zamperini endured during this time. Curiously, for a big movie such as this (which seems perfect Oscar-bait given the material, though it’s recent snubs from the Golden Globes and Screen Actors Guild doesn’t help), the film lacks a certain big-scale emotion needed to carry it through its last act, something a more skilled director than Jolie could’ve elicited from the screenplay. The most disappointing aspect of “Unbroken,” is that the last, even more remarkable act of Zamperini’s life, in which he married, had a family, endured more personal struggles and exhibited even more faith and forgiveness to his captors, is essentially ignored onscreen and is told only over the epilogue of the film. We do see the real Zamperini at age 80 in news footage running through the streets of Tokyo carrying the Olympic torch, providing more emotional heft than the last act of the movie. “Unbroken” is a well-assembled, uplifting film that is required viewing, and while overall it’s a solid effort, it could’ve focused less on the abuse and more on the healing that occurred later in Zamperini’s life.

Opens on Christmas Day

Into the Woods - C+

Meryl Streep as the witch

Rated PG, 125 minutes
Wes's Grade: C+

Fun but overlong “Into the Woods” is for musical-theater fans

The beauty of fairy tales is that they’re usually short and to the point. That isn’t the case with the film version of “Into the Woods,” Stephen Sondheim’s Tony Award-winning hit Broadway musical that is a modern twist on several of the beloved Brothers Grimm fairy tales. Handsomely filmed, well-performed and mostly a faithful adaptation of the musical, it starts off well but it falls apart in the last act, feeling as if it ever won't end - I mean if you go into the woods you're supposed to eventually come out, right? On that note, the overlong “Into the Woods” should most please those enthusiastic musical-theater aficionados who enjoy singing along but note to those aficionados: this is film - not the musical theater - and what works on stage works differently on screen (and please, sing along at home, not at the movie screen). The movie feels much longer than it really is, and in spite of an energetic cast, particularly a fabulous Meryl Streep, who steals the film. Set in an alternate universe populated with multiple Grimm characters, “Woods” follows the classic tales of Cinderella (Anna Kendrick), Little Red Riding Hood (Lilla Crawford), Jack and the Beanstalk (Daniel Huttlestone), and Rapunzel (MacKenzie Mauzy)-all tied together by an original story involving a baker and his wife (James Corden& Emily Blunt), their wish to begin a family and their interaction with the witch (Streep) who has put a curse on them. Directed by Rob Marshall, who helmed the Oscar-winning “Chicago” and the film version of “Nine,” “Into the Woods” is a lively but overlong musical; it’s hardly a modest affair, with elaborate sets, special effects and a star-studded cast, and modestly bland given Sondheim’s dark material. Written by “Woods’” original scribe James Lapine, fans of the musical will note some minor plot and character changes from the stage version, but it doesn’t change the central themes, which remain intact. Marshall and company (i.e. Disney) could’ve in fact cut more to keep the story flowing, and while it worked well on stage, it seems a little redundant, particularly in the much slower second and third acts that hamper the film. The cast could essentially be broken down into two parts: Streep and everyone else. Corden, Blunt and Kendrick blandly ground the film well and give it its heart, but it’s Streep who gives it the blowsy showmanship, coming and (literally) tearing through the screen to quickly become its most memorable character. She continues to be a marvel at what she does, even if her top-notice acting is much better than her singing (she can still carry a tune, she has proved this before), and it would come as no surprise to see her earn more accolades (heck, she already has) for “Woods.” The most pleasant surprise is “Star Trek’s” Chris Pine, who earns his singing and dancing chops here on screen belting out some pleasantries as the Prince, while the biggest disappointment is Johnny Depp, whose appearance as the Big Bad Wolf, while charming, is little more than an extended cameo. Streep is “Woods” drawing card and is the most memorable part of the dark, serviceably entertaining but much too-long musical that goes on longer than Rapunzel’s extensions. 

Opens Christmas Day

American Sniper - B

Bradley Cooper

Rated R, 134 minutes
Wes's Grade: B

Intense battle scenes, strong performances lift “American Sniper” from being typical war movie

“American Sniper” is not your typical war movie, but then Chris Kyle, also a native Texan, was not your typical Navy Seal. The movie is about U.S. Navy Seal sniper Chris Kyle (Bradley Cooper, in a strong performance and who also co-produced), the most lethal sniper in U.S. military history. Remarkably, as much as he experienced on his tours, his life ended tragically at home. Stirring, intense and well-acted, “American Sniper” is most memorable for its skillful battle scenes and poignant performances, though it’s not a revelatory look at military life. Kyle is sent to Iraq with only one mission: to protect his brothers-in-arms, though as with many in the military, he struggles to find career-family balance. His pinpoint accuracy saves countless lives on the battlefield and, as stories of his courageous exploits spread, he earns the nickname "Legend." Directed with skill and care for the material by Oscar-winner Eastwood and featuring a first-rate performance from Cooper as Kyle, “American Sniper” is powerful, moving and filled with a vigor that would’ve likely pleased Kyle himself. Based on Kyle’s autobiography of the same name, it’s a worthy but tragic story of a true American hero who saved many lives but was unfortunately gunned down by a fellow but troubled veteran he was trying to help (and fortunately, and perhaps for Kyle’s family, Eastwood doesn’t show it). The fact that Kyle was such a prolific sniper sets this apart from the usual military story, even if it’s really only a surface-level look at military life – and if you’re aware of Kyle’s story – you’re already very aware of what will happen later in his life, though Eastwood handles it with obvious affection for his subject. Written by Jason Dean Hall and photographed by Eastwood’s usual cinematographer Tom Stern, the violent, stirring battle scenes are far more engaging than the family story, which seems to be only skimmed over, however Sienna Miller is also strong as Kyle’s wife Taya, who shared in his many struggles to adjust to family life and being a husband and dad rather than the “Legend” he was known in military circles. Cooper continues to grow as an actor, and his bulky metamorphosis as Kyle (he added 30 pounds) is a very believable one, which is unfortunate given the many other strong performances at this year’s end. Eastwood could’ve deeply explored more angles, particularly some of Kyle’s psychological issues, but overall the satisfying “American Sniper” is a gripping and affecting portrait of someone who honorably served his family and country. And have tissues handy for the end credits scenes. Certainly worth a look.

Opens Christmas Day in limited release, wide in January

A Most Violent Year - B

Rated R, 125 minutes
Wes's Grade: B

"A Most Violent Year" a tense, gritty crime drama

If "A Most Violent Year" had been made years ago, it would've likely starred Al Pacino or Robert DeNiro and would've been directed by acclaimed late director Sidney Lumet. The intense, gritty new crime drama "A Most Violent Year" channels Lumet as it brings it's slow-moving plot to a boil; while it lacks some originality, its stellar performances make this one a must-see. Set in New York City during the winter of 1981, statistically one of the most violent years in the city's history, the film centers on the life of an immigrant (Oscar Isaac) and his wife (Jessica Chastain, nominated for a Golden Globe for this role) trying to expand their business and capitalize on opportunities as the rampant violence, decay, and corruption of the day drag them in and threaten to destroy all they have built. Directed and written by J.C. Chandor in only his third film after "Margin Call" and last year's superb "All is Lost" with Robert Redford, the intensity and excellent performances from an A-list cast make this dark crime thriller a worthy tale to be seen. The brooding New York vibe and low-life characters remind of Lumet's "Prince of the City" (interestingly made in 1981, the year in which this film is set) or "Before the Devil Knows You're Dead," his last film. The cast especially make this worth watching: Isaac and Chastain are both superb as the couple who experience some ongoing setbacks as they build their business; Chastain is especially memorable as the tough-talking wife who knows far more than she lets on. Watch for David Oyelowo (currently seen as Martin Luther King in "Selma") and a near-unrecognizable, gray-haired Albert Brooks in strong supporting turns. Chandor's script lacks the originality of his earlier films but the brooding, slow-burn intensity (the movie is peppered with several riveting scenes, including two involving an 18-wheeler) make up for it and may earn him another screenplay nomination. Chandor is becoming a filmmaker to watch, and "A Most Violent Year" is a well-constructed and well-acted ride of a movie that is worth your time.

Already playing in limited release, opens wide in mid-January.

Big Eyes - B

Rated PG-13, 105 minutes
Wes's Grade: B

"Big Eyes" is Burton's well-acted, compelling true story about taking credit

No one likes being ripped off, especially an artist, which is the basis of Tim Burton's engaging, superbly acted new drama, the true story known as "Big Eyes." Knowing Burton's penchant for being weird and offbeat, this is remarkably restrained and appealing. The movie tells the story of Walter Keane (Christoph Waltz), who was one of the most successful painters of the 1950s and early 1960s who earned staggering notoriety by revolutionizing the commercialization and accessibility of popular art with his enigmatic paintings of waifs with big eyes. The truth would eventually be discovered though: Keane's art was actually not created by him at all, but by his wife, Margaret (Amy Adams). Directed and produced by Burton with a screenplay by Scott Alexander and Larry Karaszewski, "Big Eyes" is a first-rate, satisfying true story, with worthy, Golden Globe-nominated performances from Adams and Waltz. The real draw, even more so than the solid acting, is the poignant true story of the Keane's, who gained considerable popularity in the '50s and '60s for Margaret's unusual art; admittedly Walter was a master salesman who took the art to new heights, but he also essentially stole the limelight from the true, gifted artist in his wife. Both were responsible for the ruse, though it was later Margaret (who is still living) who came forward with the truth. The initial chapters of "Big Eyes," as the Keane's slowly become famous, are the most fascinating, until it gets to the climax, an extended, somewhat predictable courtroom scene that finally gets to the point. Adams' warm performance as Keane grounds the movie, and Waltz has a penchant for chewing scenery here (and seemingly, so did the real Walter), but it keeps the movie flowing. Not only is Keane a talented, lovely artist, "Big Eyes" is an affecting, straightforward portrait of a real artist. Don't let Burton (who is thankfully without Johnny Depp or Helena Bonham Carter on this project) scare you off, the movie is quite normal.

Opens on Christmas Day

The Imitation Game - B+

Rated PG-13, 114 minutes

Benedict Cumberbatch

Wes's Grade: B+

Compelling, intense true story help make "The Imitation Game" the real thing

The numbers don't lie, though the provocative and powerful new drama "The Imitation Game" tells the true story of a man who tried to hide behind them, in spite of doing some genuinely great things for his country. English mathematician and logician, Alan Turing (Cumberbatch), along with a group of motley but brilliant code breakers (including Keira Knightley and Matthew Goode) helps crack the Nazi Enigma code during World War II, though his arrest for indecency for being homosexual threatened to scar his great achievements. Directed by Norwegian director Morten Tyldum ("Headhunters") and written by Graham Moore, it's a fascinating portrait of an awkward, brilliantly smart boy who grew to become an awkward, brilliantly smart man who essentially became the father of codebreakers and computers science. "Imitation Game" is a handsome, slick production, superbly portrayed by Cumberbatch and Knightley, who'll likely receive many accolades for their moving performances here, as well as a strong supporting cast in Mark Strong, Goode and "Downton Abbey's" Allen Leech. Cumberbatch is especially strong in a poignant role that shows a little more range for the Emmy-winning actor from the TV series "Sherlock." The handsome score by acclaimed composer Alexander Desplat and rich cinematography from Oscar Faura ("The Impossible") also adds some pensive texture to the film. "The Imitation Game" glosses over some significant elements to the film and remarkably, provides little insight into any personal relationships after the war; as well, the epilogue, while giving an update on Turing, doesn't tell what happened to the rest of the gang (and while their assemblage seems a little contrived for cinematic purposes, they all really existed). Though Turing was later exonerated for the indecency charges, Turing's story was otherwise not a hopeful one (Google his story and you'll find out), though "The Imitation Game" tries to right the wrong by celebrating the legacy of his work and less on his personal life. Compelling, intense and expertly acted, "The Imitation Game" is genuinely satisfying and the sleeper hit of the season. With some help from the Weinstein's, who know a little about winning Oscars, will try to do the same for this film with the same momentum that won "The King's Speech" Oscars a few years ago. Definitely worth a look.

Opens Christmas Day

The Gambler - B

Rated R, 101 minutes
Wes's Grade: B

Enjoyable "The Gambler" is unrealistic but dark fun

As someone who knows little about cards and gambling (I've mastered solitaire, but that's a child's game), I can say that I'm not a risk taker when it comes to my money, but there are many for whom gambling is a problem, and that's evident in the dark dramedy "The Gambler," which provides some engagement, even if it's stuff that's unlikely to happen in real life (at least this entertaining). College lit professor and gambler Jim Bennett's (Mark Wahlberg) has some serious money problems: gambling debt forces him to borrow money from his rich mother (Jessica Lange), a loan shark (Michael K. Williams) and some other shady folks (John Goodman). Further complicating his situation is his relationship with one of his students (Brie Larson). Will Bennett risk his life for a second chance? Directed by Rupert Wyatt ("Rise of the Planet of the Apes") and written by Oscar-winner James Monahan of "The Departed" fame and a remake of a 1974 James Caan film from James Toback, "The Gambler" provides a walk on the dark and what it's like to get in over your head, and very quickly. It's hardly anything new and somewhat predictable down its final stretch, but it comes together effortlessly, with a solid effort from Wyatt, Monahan and Wahlberg (you'll see Monahan and Wahlberg together again in the upcoming crime effort "Mojave"). It also has a strong supporting cast, particularly Lange as the fierce wealthy mother who's so bitchy if you had to choose between borrowing from her or the loan shark, go with the loan shark, the always enlightening Goodman as the loan shark who can wax eloquent (his monologue mid-film about "a f-off moment" is a highlight) as well as "The Wire's" Williams, who's one tough shark. Wahlberg seems to have cornered playing these smart-ass, irascible types, but he does it well enough to carry the film against some of its flaws, including it's predictability and unrealistic climax, not to mention the love angle with the much younger (but lovely) Larson. Stuff like this doesn't often happen in real life, but "The Gambler" makes for an enjoyable movie. Don't bet against it, or you'll lose, so you're better off just going to see it.

Opens Christmas Day

Night at the Museum: Secret of the Tomb - C-

Rated PG, 97 minutes
Wes's Grade: C-

The magic is indeed gone in lackluster "Night At the Museum: Secret of the Tomb"

Maybe it was Ben Stiller. Maybe the studio. Or that silly monkey. Someone, somewhere must've needed some more money. That can only explain the unnecessary and unfunny sequel "Night at the Museum: Secret of the Tomb." Dumb, rushed and featuring only a handful of genuinely humorous moments, this franchise seemingly ends on a weak moment. When the magic powers of The Tablet of Ahkmenrah begin to die out, Larry Daley (Ben Stiller) spans the globe to "save the magic" before it is gone, uniting his son Nicky (Skyler Gisondo) along with the usual museum gang: Theodore Roosevelt (Robin Williams), Jedadiah (Owen Wilson), Octavius (Steve Coogan), Attila the Hun (Patrick Gallagher), Sacagawea (Mizuo Peck), a new Neanderthal named Laa (Ben Stiller), and Dexter the Capuchin Monkey. Directed and co-produced by Shawn Levy, who helmed the other "Night at the Museum" movies and co-written by Robert Ben Garant and Thomas Lennon, who co-created the first film, this is the least inspired of the "Museum" movies; the first was original and charming and each installment has become less so. For a film about reviving the magic, it certainly needs more of it or end up as a long-forgotten relic in the annals of cinematic history. This time, it's same old schtick, different museum, as the gang travels to London to discover the secret behind an ancient artifact. Thin premise if there ever was one, and the genuinely funny parts are the bits and pieces provided by the likes of Ricky Gervais or Rebel Wilson, seen only very briefly here; Stiller overacts shamelessly, particularly in an additional role as his twin, a Neanderthal that's not much smarter than the film itself. Worst of all, "Night at the Museum: Secret of the Tomb" is rushed and all over the place, and even the visuals, which highlighted the first one, seem sloppy here (in some scenes, the green screen is all too apparent as the actors do what they do best: run). It's all rather unfortunate, given this is one of Williams' last roles (as well as Mickey Rooney, who cameos) and it wastes such a likable old fella in Dick Van Dyke. The likable but utterly forgettable "Night at the Museum: Secret of the Tomb" may draw some who enjoyed the first two films, but this one should be put away for good. Don't waste your time.

Annie - C

Rated PG, 118 minutes
Wes's Grade: C

Peppy new version of "Annie" seems rushed but still charms

It's hard not to like "Annie." First came the comic strip "Little Orphan Annie" then the beloved 1977 Tony Award-winning musical, all of which has delighted many over the years, and the likable, contemporary new update of "Annie" does as well, though it's a mixed bag: while the music is the most memorable aspect of the movie, the story falters, leaving some things to work better than others. Annie Bennett (Quvenzhané Wallis of "Beasts of the Southern Wild") is a young, happy foster kid who's also tough enough to make her way on the streets of current day New York. Originally left by her parents as a baby, it's been a hard knock life ever since with her mean foster mom Miss Hannigan (Cameron Diaz). However things change when tough, smart tycoon and New York mayoral candidate Will Stacks (Jamie Foxx) - advised by his brilliant VP, Grace (Rose Byrne) and his shrewd and scheming campaign advisor, Guy (Bobby Cannavale) - as a campaign move, takes Annie in. Pleasant and energetic, this rushed new version of "Annie" isn't without some charms: chiefly, the lovely Wallis is engaging and holds the film together though its weaker, sillier moments. Directed and co-written by "Easy A's" Will Gluck and co-produced by Will Smith and Jada Pinkett Smith along with Jay-Z, it's not a bad idea to give the original musical, originally set in 1933, a fresh coat of paint, though new doesn't always mean better. For one, the casting in particular is hit and miss: aside from Wallis, Jamie Foxx is serviceable in the Daddy Warbucks role and Cannavale is a hoot, though the film is hurt by the crucial miscasting of Cameron Diaz as Mrs. Hannigan (to this day, I still see the hilarious Carol Burnett in the role and Diaz is not Burnett) and the fact she, along with others in the cast, are middling singers and even worse at lip synching some of the numbers. And second, the unsatisfying storyline is much weaker than the memorable, peppy music. While Gluck's screenplay has some clever touches (such as Stack's baldness, the lovely Sandy and the nod to its creator, Harold Gray), it takes great pains at nearly every turn to ensure it has been updated for contemporary audiences (texting, social media, etc.); along the way, some characters and songs are excised from the stage version (and a few new ones added) though you can rest easy, the musical's most familiar songs - "Tomorrow" and "It's Hard Knock Life" - remain intact and playfully staged.  Some of the kitschy pop-culture references, star cameos and product placement show how far movies have come since the original version (the uneven 1982 film wasn't much better, for different reasons), though you'll still leave with a big smile on your face, thanks in part to the always delightful Wallis as Annie. A minor disappointment yet pleasant as pie, this contemporary version of "Annie" is a good idea and is suitable for kids, though it falters some in execution. Worth a look only for some of the music.

The Hobbit: The Battle of the Five Armies - B

Rated PG, 144 minutes
Wes's Grade: B

It's mostly for fans, but "The Hobbit: The Battle of the Five Armies" is a rousing conclusion to "Rings" series

For fans of "The Lord of the Rings" and "The Hobbit" the latest film entry, "The Hobbit: The Battle of the Five Armies" will be a bittersweet experience. It's all coming to a close, but does so such a splendid, spirited manner you may not care who's who (and if you're like me and unfamiliar with the Tolkien books, that's been the case for all these movies). I give credit to director, producer co-writer and general master Peter Jackson, who's done a terrific job in bringing the movies to life -though I'm still unsure that six  movies is really necessary - and while he does so again in "Five Armies" in typical, overlong and epic fashion, most of it is still entertaining. By entering the Lonely Mountain, Bilbo Baggins (Martin Freeman), Thorin Oakenshield (Richard Armitage), and his fellow Dwarves have roused the dragon Smaug who in his anger flies out to destroy Lake Town. In the meantime, the wizard Gandalf (Ian McKellan) has identified the evil Necromancer as Sauron  (Benedict Cumberbatch) who has returned to Middle-earth and ordered countless Orcs to attack the Lonely Mountain. The thrilling "The Hobbit: The Battle of the Five Armies" is a thrilling, action-packed conclusion to this epic series, which seems a bit much at times except for providing extensive fodder for the fan boy set and/or the legions of fans of the series, which has helped make this a global, worldwide hit. "The Hobbit," to its credit, is more efficiently made and moves along quicker: it wastes no time in tying up the Smaug storyline from the second film (which is my favorite in this series) and moving on to the central battles that are the centerpiece of this film. Those battle scenes are the most memorable, sublime part of "Five Battles" and Jackson continues to amaze with the technical details, visual flair and special effects, all first-rate and likely seeing Oscar nominations. Freeman is given less to do here but grounds the movie well along with Armitage and McKellan, not to mention the ubiquitous Cumberbatch, who gets to scowl more here in voice form as the chief villlain, seemingly since Smaug's story ends over the prologue of the movie. And for fans of this series, a handful of major characters die here, but I won't spoil it for you except that overall "The Hobbit: The Battle of the Five Armies," while overlong and busy, is still a rousing, fitting conclusion with some sublime visuals to keep the non-Tolkien fans engaged for nearly 2 1/2 hours.

Top Five - B-

Chris Rock

Rated R, 101 minutes
Wes's Grade: B-

Loose and raunchy, "Top Five" is right up Rock's alley

Chris Rock is a brilliantly sharp, smart comedian, though some of his movie choices don't always reflect that (I know you're friends with Sandler, but if he asks again, it's OK to tell him no). That should change with the charmingly dirty and loose new comedy "Top Five," but it could because he directs and writes the movie himself. The movie tells the story of New York City comedian-turned-film star Andre Allen (Rock), whose unexpected encounter with a journalist (Rosario Dawson) forces him to confront the comedy career-and the past-that he's left behind. Directed and written by and starring Rock, the witty, raunchy and mostly enjoyable "Top Five" should appeal to Rock's fan base. It's essentially an extended stand-up session with a little plot that gets in the way, but riffing on a variety of different subjects with Dawson, mostly on relationships (and how the movie "Planet of the Apes" contributed to Martin Luther King's assassination, among many others), is Rock's specialty, and it will have you cracking up in many parts of the movie. He seems to have a wide array of famous friends, from the likes of Sandler, Whoopi Goldberg, Taraji P. Henson to Sherri Shepherd, Tracy Morgan and Cedric the Entertainer, all of whom either cameo or play some silly part in it, all of which seems rather unnecessary given that he and Rock's conversations are the highlight of an otherwise plotless movie (and the film's funniest - and most raunchy - scene involves Dawson with a tampon covered in hot sauce). The entertaining "Top Five" provides some solid laugh-out loud laughs and is definitely worth it if you enjoy Chris Rock, just don't let the movie get in the way of the comedy.

Exodus: Gods and Kings: C

Rated PG-13, 150 minutes

Wes’s Grade: C

Visually stunning but sluggish epic “Exodus: Gods and Kings” divides more than the Red Sea

I will give this disclaimer up front, mainly for my many Christian and evangelical friends who may see the divisive new epic action film “Exodus: Gods and Kings.” It is Biblically-inspired, which means if you’re going for a faithful adaptation of the Moses story from the Bible, you won’t find it here. Overlong and with a slow start, it is otherwise peppered with impressive visuals and sets, “Exodus” isn’t as outrageously different as this year’s similarly-inspired epic “Noah,” (no rock people here) but there’s still some considerable differences and interpretations (the manner in which God speaks to Moses, as well as Moses writing the Ten Commandments are among them) that may cause some consternation among the Christian set. If you’re unfamiliar with the story, here it is: Moses (Christian Bale) is working diligently with the help of God to free his people from the oppressive Ramses (Joel Edgerton) to the promised land.  God’s use of deadly plagues finally helps set Moses and his people on the way, but not without even more obstacles along the way. Directed by Ridley Scott and written by Oscar-winner Steven Zaillian (“Schlinder’s List”), the slick “Exodus: Gods and Kings” is a mildly entertaining but sluggish historical epic that is loosely, and I repeat, loosely based on the Bible story made famous by Charlton Heston in the 1956 DeMille classic “The Ten Commandments,” which this film will be inevitably (and perhaps unfairly) compared to (more on that later). The slower initial acts give way to the later, more energetic scenes filled with plagues and the actual journey; scored by Alberto Iglesias (“Tinker Tailor Soldier Spy”) and photographed handsomely by Dariusz Wolski, who has worked with Scott before on films such as “Prometheus,” the film is a visual feast, which is unsurprising given Scott’s (who dedicates the film to his later brother Tony) eye for this. As well as the first-rate (and likely Oscar-nominated) visuals, some things work better than others here, including Bale’s strong performance, who paints Moses as a flawed figure with mental issues, while others do not, such as the interesting miscasting of John Turturro as the Ramses Pharoah father Seti I, as well as the famous Red Sea crossing, which I found disappointing compared to “The Ten Commandments.” Scott visualizes it more as a “drying up” than an actual parting a huge change that will divide more than the sea does in the movie. On that note, “Exodus: Gods and Kings” isn’t a great film, somewhat missing the point and upsetting many in the process with its inaccuracies; it works OK as pure entertainment (and visual spectacle), as long as you don't take your Bible with you.

Wild - B+

Rated R, 115 minutes
Wes's Grade: B+

Reese Witherspoon

Powerful, well-acted "Wild" is a trail of change

Yep, this is the movie that has Reese Witherspoon traipsing across the mountains in search of another Oscar. Well, that's maybe a bit of an oversimplification, but the new drama "Wild" is a resonating true story of a woman who took to nature to help her let go and move on. On paper, it looks like one of those inspiring movie-of-the-week type stories, but it's much deeper than that. Superbly acted and superbly engrossing, "Wild" is a trail of change for those who need it: dark, folksy and deeply satisfying. With the dissolution of her marriage and the death of her mother (Laura Dern), Cheryl Strayed (Witherspoon, all de-glammed here) has lost all hope. After years of reckless, self-destructive behavior, she makes a rash decision. With absolutely no experience, driven only by sheer determination, Cheryl hikes more than a thousand miles of the Pacific Crest Trail, alone as one young woman forging ahead against all odds on a journey that maddens, strengthens, and ultimately heals her. Directed by Jean-Marc Vallee ("The Dallas Buyers Club") and based on Cheryl Strayed's memoir and account "Wild: From Lost to Found on the Pacific Coast Trail," "Wild" is a darkly-shaded but moving portrait of healing and change, with Witherspoon's sublime, much-talked about performance taking center stage. Vallee, who guided McConaughey to his transformative Oscar-turn last year in "DBC," could do the same this year for Witherspoon, and though it's not as physically transformative (except for a couple of topless scenes, for those that care about such things), it's certainly as gritty and psychologically challenging in a role that's very much against type for the usually upbeat actress. And much like "DBC," "Wild" is buoyed by a strong supporting turn, from previous Oscar-nominee Dern in an illuminating turn as Strayed's hippie-chick Mom who impacted her life and ultimately shaped her womanhood. Both Witherspoon and especially the lovely Dern (seen in flashbacks) are captivating, and it would be unsurprising to see both collect some accolades along this year's award season trail. Nick Hornby's ("About a Boy") script, as with many of these true stories, alters some major details of Strayed's story (some significant folks are missing) and inserts a few too many folksy Simon and Garfunkel tunes, but ultimately those are minor points from this satisfying, lovingly photographed journey along the trail. The poignant, very absorbing "Wild" fully realizes the old saying that a rough and rocky road often lead to a beautiful place. I just like my beautiful place to include an LaQuinta Inn and a toilet, thank you. Well worth it and expect to see a lot of Witherspoon and Dern this awards season.

The Babadook - B

Unrated, 93 minutes
Wes's Grade: B

Low-budget horror film "The Babadook" creepily affecting

You can't get rid of the Babadook. That's the premise of the creepy, original new low-budget Australian horror film "The Babadook," about a supernatural creature that torments whoever is made aware of its presence. Relying more on story and character than blood, it's filled with some genuinely scary and also touching moments. Six years after the violent death of her husband, Amelia (Essie Davis) is at a loss. She struggles to discipline her 'out of control' 6 year-old, Samuel (Noah Wiseman), a son she finds impossible to love. Thanks to a pop-up story book, Samuel's dreams are plagued by a monster named Mr. Babadook he believes is coming to kill them both. Directed and written by Jennifer Ken and based her 2005 short film "MONSTER," the intense, low-budget "The Babadook" is a minimalist but creepy horror film that derives most of its thrills from what is unseen, and not on blood and gore, which is a refreshingly unconventional in a genre that feels that the more the blood, the better. The heart of the film is the disruption the creature provides to the unsual and often unstable mother-son relationship touchingly and believably portrayed by Australian character actress Davis and especially newcomer Wiseman, who is quite good here. The memorable relationship recalls another classic (but completely different) horror film, "The Sixth Sense," back when M. Night Shyamalan actually made good movies. The low-grade special effects (a budgetary constraint, for sure), in which you see very little of the creature, is the biggest reason that it works so well and provides so many scares (particularly in the way in which it torments and possesses it inhabitants). "Babadook," with a fantastic climax that will leave you breathless, makes it one of 2014's most memorable horror films. Worth a look.

Citizenfour - B

Rated R, 114 minutes
Wes's Grade: B

Riveting, fascinating documentary "Citizenfour" explores surveillance, privacy issues

U.S. surveillance programs, especially on its own citizens, has been a hot topic for some time, and raises numerous issues regarding privacy and security. This is explored in the provocative, relevant documentary "Citzenfour" from documentary filmmaker Laura Poitras, who has examined the subject in her previous documentaries, the Oscar-nominated "My Country, My Country" (2006) and "The Oath" (2010). In January 2013, Poitras started receiving encrypted e-mails from someone identifying himself as "citizen four," who was ready to blow the whistle on the massive covert surveillance programs run by the NSA and other intelligence agencies. In June 2013, she (along with journalist Glenn Greenwald, who plays a prominent role here) flew to Hong Kong for the first of many meetings with the man who turned out to be Edward Snowden. She brought her camera with her and the recordings are the basis of the film. Poitras' often fascinating and compelling documentary "Citizenfour" is a must-see, though admittedly - while this is very much a pertinent issue - some of it is a little dry. Otherwise known as "the Snowden documentary," this is the third part of what Poitras considers a trilogy following her aforementioned documentaries "My Country, My Country" and "The Oath," though this one could have wider appeal. The film is best when it looks at the wider impact that Snowden's revelations have upon the general public; occasionally it gets bogged down in too many mundane details that occasionally bog it down. Even with that, "Citizenfour's" apprehensive, even nervous, energy as it unfolds is part of its appeal and one of the main reasons to see it, though this may not have considerable mainstream appeal. It doesn't seek to resolve the issues it raises, but it does make you think the next time you make a phone call, text or visit a website, how and if that's being used by the NSA for security purposes. However you feel about Snowden, "Citizenfour" is a satisfying, worthy and thought-provoking documentary about our privacy, or lack thereof.

The Homesman - C+

Rated R, 122 minutes
Wes's Grade: C+

Strong performances help the unsatisfying western "Homesman"

The handsomely "The Homesman" is a downer and a bit of an odd duck. Based on a novel by Glendon Swarthout and co-directed, written, produced and starring Tommy Lee Jones, it has a great cast and is peppered with some affecting moments, but the depressing story ends on an unsatisfying note. When three women living on the edge of the American frontier are driven mad by harsh pioneer life, the task of saving them falls to the pious, independent-minded Mary Bee Cuddy (Hilary Swank). Transporting the women by covered wagon to Iowa, she soon realizes just how daunting the journey will be, and employs a low-life drifter, George Briggs (Tommy Lee Jones), to join her. Swank's strong turn as the bossy frontier woman who has some obstacles ahead of her is the most memorable aspect of the largely downbeat, unsatisfying but well-acted western drama "The Homesman." It's a little disappointing for a film that provides a well-rounded, strong female character only to have her exit the film due to a man. Jones is also good, but he gives him the hammiest role in the role that's certain to steal scenes, though Oscar-winner Swank holds her own. As the three women, Grace Gummer, Miranda Otto and Sonja Richter are all affecting but underused, though it's nice to see Gummer share a scene for the first time on film with her mom, Meryl Streep, in what amounts to be an extended cameo at the end of the movie. The handsomely shot film captures some of the pensiveness of the lonely frontier, but the oddness of it all disconnects its audience late in the last act when Swank leaves the film. Jones, a serviceable director and writer, has done this thing better with 2005's "The Three Burials of Melquiades Estrada" and I'd recommend renting that instead of the well-acted but downbeat "The Homesman."