Deli Man - B

Deli owner Ziggy Gruber

Rated PG-13, 91 minutes
Wes's Grade: B

Documentary "Deli Man" provides a fresh look at Jewish culture and food

If you've ever eaten in a delicatessen, you know that food is only part of the story, not to mention the culture and camaraderie that flows from it (essentially a diner, but the food is better). The warm, relaxed new documentary "Deli Man" tells the many stories behind the rich flavor and history of the delicatessen, which is a fixture in the Jewish culture. In Houston, Texas, third-generation deli man Ziggy Gruber has arguably built what some think is one of the finest delicatessens in the U.S., named Kenny and Ziggy's. His story - augmented by the stories of iconic urban delis such as Katz's, 2nd Avenue Deli, Nate 'n Al, Carnegie, and the Stage - embodies a tradition indelibly linked to its savory, nostalgic foods. Directed and written by Erik Greenberg Anjou, "Deli Man" is an entertaining, gregarious documentary that brings to light some of the untold stories of one of the more fascinating asepcts Jewish culture, yet shows that you can also make a documentary about just anything. Gruber's contemporary story gets the most footage, and while Gruber himself is a fun character (among other things, he gets acupuncture because of the stress of running a deli), it's not the most interesting, given all the delicatessens that came before him. There is some fun, generous helpings of commentary from historians as well as celebrities, including Jerry Stiller, Fyvush Finkel and Larry King that add a little spice to the proceedings, while also giving insight into how delicatessens are run (and interestingly, more than once, they caution against investing in them but then maybe that is the very reason to do so). "Deli Man" is a fresh look at an age-old institution as well as Jewish culture, though it may have limited appeal to those outside of the Jewish community and/or foodies. It's worth a look, though you may not want to go on an empty stomach, as it may make you very hungry seeing some of the yummy food.

It Follows - B

Rated R, 94 minutes
Wes's Grade: B

"It Follows" a chilling, creepy ride about a erotically supernatural curse

If you thought getting an STD after having sex was scary, it's nothing compared to having a supernatural force hunting you down, at least according to the creepy, often terrifying and original horror low-budget horror film "It Follows." After a strange sexual encounter, a teenager named Jay ("The Guest's" Maika Monroe) finds herself cursed by nightmarish visions and the inescapable sense that something supernatural is after her. Directed and written by David Robert Mitchell in an auspicious feature debut, "It Follows" is a chilling, vivid experience that will stay with you long after the film is over. It starts with one of the creepiest opening sequences of recent memory, of a young girl in shorts and heels running for her life, whose fate doesn't end so well. "It Follows" is a truly scary, taut  cat-and-mouse game, made memorable by the "it" in the film's title, and remarkably well-made and acted considering its low-budget and has been scaring people since its debut at the Cannes Film Festival last year. Monroe, along with geeky British actor Keir Gilchrist, who plays nerdy friend/lover Paul, are memorable as the two who share and fight the supernatural force. What makes "It Follows" so unpredictable and so unlike other typical horror films of the genre, is the unique way that Mitchell has the supernatural being morph into humans: in other words, you never know what it may do or who it may be. Add a pulsating film score from electronica musician Disasterpeace (Rich Vreeland) and brooding photography filmed on location in Detroit, Michigan that reminds you of 1970s John Carpenter, and "It Follows" provides a rich level of suspense that'll have you holding onto your seat. The erotically-fueled "It Follows" has a few slow moments in the first act, and the climax seems slightly out of place, but otherwise it's a pretty tense ride, with a few moments that'll make you really jump. Definitely worth a look.

Danny Collins - B-

Al Pacino is Danny Collins

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

Pacino and company make for a witty but predictable "Danny Collins"

In the new dramedy "Danny Collins" there is a witty exchange between Al Pacino's character, an old rock singer, and Annette Bening, a hotel manager as he's about to go out. "An honest opinion, how do I look?" he asks her. "Well, slightly ridiculous" she replies. "No, I don't I look wonderful," he retorts. That could sum up the film itself: slightly ridiculous, thinking it's far better and more clever than it really is, which is a mildly amusing, somewhat touching but very calculated movie that really belongs on HBO or Showtime (I could easily see a series being made from this). Pacino is aging 1970s singer Danny Collins, who can't give up his hard-living ways. But when his manager (Christopher Plummer) uncovers a 40 year-old undelivered letter written to him by John Lennon, he decides to change course and embarks on a heartfelt journey to rediscover his family (Bobby Cannavale and Jennifer Garner), find true love and begin a second act. Directed and written by actor and writer Dan Fogelman ("Crazy, Stupid Love") in his feature directorial debut, "Danny Collins" is an enjoyable but hardly subtle and far from revelatory, but is worth a look for the solid cast, who seems to enjoy themselves. Oscar-winner Pacino, whose characters looks like Keith Richards but whose music obviously resembles Neil Diamond's (it's actually loosely based on a true story of English folk singer Steve Tilston), is very game and performs well, though he's too old for the part (and we know now the old saying that singers make better actors than vice versa, with the exception of maybe that Streep goddess), yet he still has solid chemistry with the rest of the cast, including Bening, Plummer, Cannavale and Garner. The movie is much more fun when it doesn't take itself too seriously, and the predictable last act of the movie as Collins strives to find redemption in reconnecting with his long-lost family, while touching, comes hardly as a surprise (no spoilers, but someone in these types of things always gets sick with some rare disease, a stale contrivance if there ever was one). The often witty "Danny Collins" is an enjoyable piece of fluff that pulls few punches and you may not remember much after its over, but it's fun as it runs its course.

Get Hard - D+

Rated R, 100 minutes
Wes's Grade: D+

Forgettable, dumb "Get Hard" should be sentenced for unfunny behavior

Go ahead. Get it out of the way. The title of the profane, dumb new Will Ferrell-Kevin Hart comedy "Get Hard" is a sexual double entendre which should elicit some giggles, arguably more than the film itself, which is so named to help prepare someone for prison, or the hard life. An annoying, one-joke guilty pleasure that seems to ripoff the funnier (but hardly a masterpiece) 1980 Richard Pryor-Gene Wilder comedy "Stir Crazy," much of it falls flat, and not in a soft way. The prison-bound manager (Ferrell) of a hedge fund asks a black businessman (Hart) -- who has never been to jail -- to prepare him for life behind bars. Directed and co-written by Etan Cohen, who wrote the hit comedy "Tropic Thunder," the sporadically funny but absurd and uneven new comedy "Get Hard" appeals to the lowest common denominator, which means lots of bad language and gross-out moments. It's hardly a high point for either comic actor and tends to bring out their most annoying traits, especially the shrill Hart, who still should realize the value of comedy in the quieter moments (in other words, screaming your lines doesn't make you funnier). Ferrell, who is an expert at playing these daft buffoons, is slightly better, but most of it you've seen in the movie's trailers, and also shows he's willing to do just about anything to make you laugh or cringe (in the end, he doesn't, no spoilers here); as well, it wastes two terrific actors in "Parenthood's" Craig T. Nelson and "Community's" Allison Brie, who are given very little to do. My favorite moments had Ferrell's character picking fights in the park and getting beat up, and Hart's retelling of "Boyz n the Hood," yet I still had trouble buying into its dumb, dumb one-joke premise and predictable plotting, and much of it, especially a couple of unnecessary, mean-spirited sequences involving gangs (both white and black), seems like filler. The forgettable "Get Hard," which has some reflex laughs and an inordinate amount of bad language (thanks, in large part, to Ferrell and his producing partner Adam McKay), quickly grows tiresome and should do comic prison time for unfunny behavior. Richard Pryor, in the aforementioned "Stir Crazy," tried his own version of prison toughness with his memorable phrase "that's right, we bad." "Get Hard" is bad, and not in a good way.

Home - C+

Rated PG, 94 minutes
Wes's Grade: C+

More aliens? "Home" is energetic but bland, unoriginal fun

They say that home is where the heart is, and the modestly entertaining new animated movie "Home" has plenty of heart and fun moments to please the young set, though its so bland they won't remember much of it after its over. Though based on the 2007 best-selling kids book "The True Meaning of Smekday" by Adam Rex, the over-used alien plotting gives it a "been there, done that" feel. An optimistic yet inept alien race called the Boov led by Captain Smek (Steve Martin) invade the Earth to hide from their mortal enemy and make it their new home. Convinced that they are doing humans a favor, they begin to relocate them to a Desert Planet. A resourceful teenage girl named Tip (Rihanna), manages to avoid capture.When on the run and looking for the location of her mother Lucy (Jennifer Lopez), she is accompanied by a banished Boov named Oh (Jim Parsons) who has accidentally notified his people's enemies of their location. Directed by Tim Johnson ("Antz," "Over the Hedge"), "Home" is blandly energetic and predictable, silly fun that kids will get most out of, though like most things based on kids' books, it's redundant and much of it seems padded, considering its thin source. Pop singer Rihanna and "The Big Bang Theory's" Parsons make for a good voice pairing, though "Home" often feels like a vehicle for Rihanna, who also provides a few original songs on the soundtrack, as does Lopez (interestingly, Parsons' character Oh in the book is named J Lo and changed here to avoid confusion), who has a small role as Mom. "Home" is peppered with some colorfully humorous moments and clean animation but simply put, it's too familiar, too redundant and too long. The buddy-buddy storyline, seemingly expanded from the original novel, and the overused fish-(this time alien)-out-of-water plotting grow tiresome quickly, in spite of its admirable messages of individuality, friendship and speaking up. "Home" isn't terrible, but isn't terribly original, either, and do we really need more animated aliens? Serviceable but unmemorable family fun.

Do You Believe? - C-

Mira Sorvino

Rated PG-13, 115 minutes
Wes's Grade: C-

Stale Christian drama "Do You Believe?" won't find any new followers

Dear Lord, as a Christian and an avid moviegoer, my sincere prayer is that Christian filmmakers can eventually make an uplifting film whose Good Message can smoothly flow from a believable story and not hit you over the head with a dozen bricks. In Your Name I Pray, Amen. The main question posed in the stagnant, unoriginal new Christian-themed drama is "Do You Believe?" After you see it, not likely. In spite of a familiar cast and a sincere message it wears on its sleeve, it's also typically heavy-handed, preachy and only serves to show some of the challenges of films like this. When a local pastor (Ted McGinley) is shaken to the core by the visible faith of an old street-corner preacher (Delroy Lindo), he is reminded that true belief always requires action. His response ignites a faith-fueled journey that powerfully impacts everyone it touches in ways that only God could orchestrate. Brought to you by Pure Flix Entertainment, who brought last year's big hit "God's Not Dead," the dramatically hollow, third-rate "Do You Believe?," much like other films in this genre, appeals to and will mostly be seen by its core audience of evangelicals, some who think that Kirk Cameron is a good actor. One thing that "Do You Believe?" has done this time, and perhaps inspired by "God's Not Dead," is that it actually has some familiar and respected (if not washed-up) faces, including Oscar-winner Mira Sorvino, Lee Majors, McGinley, Lindo (he is the most memorable as the street preacher trying to make a real difference), Cybill Shepherd, Sean Astin and even former football player Brian Bosworth, all of whom may get slightly more notice if this is as big a hit as "God's Not Dead" was, which may not be likely this time. The overused "Crash"-like intersecting story lines lack edge and believability, and Christian filmmakers have yet to find a way to smoothly integrate the Good News and let it flow from its story, instead of the other way around (any way you try to spin it, someone wandering into a church - during a service - after a robbery just seems contrived). I'm certainly not one to shoot the messenger and the movie "Do You Believe?" has its heart is in the right place, but like this genre in general, it seems to defeat the purpose of spreading the Good News when you primarily attract the people who already believe. Anyway, if you're so inclined to see "Do You Believe?" then go for it, but for a movie about the inspirational, it sure does lack inspiration (and a good script) and only preaches to the choir.

Insurgent - C-

Theo James and Shailene Woodley

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

Slick but insipid "Divergent" mostly for fans of the book series

After seeing the bland, repetitive "Insurgent," the second and disappointing installment of "Divergent" series, I'm hoping that sometime in the near future that moviegoers will tire of the whole YA dystopian movie-franchise thing and move on to something else. When the best thing about the movie is the lead's haircut, then you know the movie is in trouble. Tris (Shailene Woodley) and Four (Theo James) are now fugitives on the run, hunted by Jeanine (Kate Winslet), the leader of the power-hungry Erudite elite. Racing against time to save their faction, they must find out what Tris's family sacrificed their lives to protect, and why the Erudite leaders will do anything to stop them. Directed by Robert Schwentke ("Red," "Flightplan") and co-written by Brian Dufffield, Akiva Goldsman and Mark Bomback and based on Veronica Roth's popular Young Adult "Divergent" novel series, "Insurgent" is a slick but lackluster sequel to the 2014 hit "Divergent," in spite of an appealing lead in Woodley, who is a game heroine but can't overcome what a ho-hum, mostly boring story it all is: the movie revolves around some secrets kept in some dumb box held captive by the always sleek Winslet; we get it, this young girl has issues, now move on to something more intriguing. Speaking of which, Winslet and the fun Miles Teller ("Whiplash"), as good/bad guy Peter, provide the only real energy the movie is in need of, given you won't find it with the boring team of James and the lovely Woodley, whose sporty haircut has more life than her character does. "Insurgent" wastes the talents of two other talented actresses as well: Oscar-winner Octavia Spencer, in what is barely more than a cameo, and especially Naomi Watts, woefully miscast as the mother of 30-year James, who seems too old for this. Schwentke handles the action scenes serviceably, but there isn't enough of them to keep the story moving along, and of course, leaving the film open for its final chapters, the final book split into two unnecessary installments (thank you, "Twilight" for starting that unfortunate trend). The "Divergent" series has a legion of fans who'll no doubt turn out for this movie, and this movie is really for the fans of that series. "Divergent" doesn't do itself any favors in this disappointing, mostly banal, second installment, which is flavorless and lacks dramatic shape, hardly a "Godfather Part II" or "The Empire Strikes Back" but more like "The Cannonball Run II." Unless you really like this sort of thing, I'd opt for something else this weekend.

The Gunman - C

Rated R, 115 minutes
Wes's Grade: C

Bloody, tense spy drama "The Gunman" feels very familiar

The muddled, violent new Sean Penn spy drama "The Gunman" is based on a novel "The Prone Gunman" by Jean-Patrick Manchette, but it feels more like a bloodier, older Jason Bourne. The very muscular Penn (in superhero shape here) is good enough with a gun, but someone seems to have shot holes in the plot. An international operative named Jim Terrier (Sean Penn) wants out of the game, so he can settle down with his longtime love (Jasmine Trenca). The organization he works for has other plans in mind, and he is forced to go on the run across Europe. Directed by Pierre Morel ("Taken") and co-written by Don MacPherson and Pete Travis, "The Gunman" is a mildly entertaining but disorganized and predictable action film that seems like two movies spliced together. The first part is more of a character-driven film, the second half a bloody action film that gets lost in all the blood; it also has a cast it doesn't do much with, including Oscar-winners Penn and in a smallish role, Javier Bardem, whose fate you can probably predict from the first frames of the film. It also wastes two terrific character actors in Ray Winstone, who adds some charm to the downbeat movie, and especially Idris Elba, who has all but a couple of scenes and a couple of lines of dialogue late in the film. Morel, who also directed the original French action film "District 13" and who started as a cinematographer, handles the blood and action well, but can't seem to piece together an interesting story or characters to make it truly memorable (I'm still completely unsure as to why Penn's character was on the run in the first place). The otherwise forgettable "The Gunman" was much better done when it was called "The Bourne Identity" and starred Matt Damon. As much as I like Penn, I'd skip this one and watch Bourne instead.

"Home" Premiere and Red Carpet!

Home Premiere and Red Carpet with Rihanna and Jim Parsons in attendance!

When: Tuesday, March 17th
Where: Cinemark West Plano
Time: Fun starts at 4 pm, Red Carpet Arrivals at 5!

Cymbeline - C

Rated R, 85 minutes
Wes's Grade: C

Dark, contemporary retelling of Shakespeare's tragedy "Cymbeline" a noble failure

"Cymbeline" is a dark, contemporary re-imagining of the classic and tragic Shakespeare play (which some, interestingly, view as a romantic comedy). It's certainly ambitious and an intriguing, but it's execution isn't a smooth one and mostly seems like a "Sons of Anarchy" ripoff.  This version is about a vicious, take-no-prisoners war between dirty cops (including Ethan Hawke as Iachimo)  and an outlaw biker gang. Now, drug Lord Cymbeline (Harris) is driven to desperate measures. Directed by Michael Almereyda, who did this thing 15 years ago in his version of "Hamlet," also with Hawke, "Cymbeline" is a mildly engaging adaptation with a great cast, but this contemporary update of Shakespeare's play simply just rings false. Almereyda does preserve the Bard's original dialogue ala "Romeo + Juliet," but with much less charm or intrigue as that film version, not to mention "Cymbeline" is one of Shakespeare's lesser plays, though it's far better than this stale drama, some of which works, much of which doesn't. The cast makes a noble effort, including Harris as Cymbeline, envisioned now a drug kingpin, along with Dakota Johnson, as an emotional Imogen in a part filmed before her current blockbuster "Fifty Shades of Grey." However, I had trouble connecting with Hawke's Iachimo, in a part that seems expanded here from the original play, which seems now much like his "Training Day" role, and Harris needs a more regal, bad-ass queen than Milla Jovovich, who doesn't seem all that comfortable here speaking Shakespeare's dialogue. Fortunately, "Cymbeline" is short and sweet, and while its efficiency helps, it struggles in providing coherent plotting and a smooth narrative flow, particularly in the heavy-handed final act and climax. "Cymbeline" may be worth a look for Shakespeare aficionados, but otherwise you're better off watching a few episodes of "Sons of Anarchy," which this adaptation is clearly trying to mimic.

Serena - C

Jennifer Lawrence and Bradley Cooper

Rated R, 109 minutes
Wes's Grade: C

Lawrence and Cooper have done better together than the muddled, downbeat "Serena"

I like Bradley Cooper and love Jennifer Lawrence but was letdown by their third effort together, the depressing, convoluted Great Depression drama "Serena." The North Carolina mountains at the end of the 1920s - George and Serena Pemberton (recent Oscar-nominee Bradley Cooper and Oscar-winner Jennifer Lawrence), love-struck newly-weds, begin to build a timber empire. However, once the strong-willed, ambitious Serena discovers George's hidden past and faces an unchangeable fate of her own, the Pemberton's passionate marriage begins to unravel. Directed by Oscar-winner Susanne Bier ("In A Better World") and written by Christopher Kyle and based on the 2008 novel of the same name by Ron Rash, "Serena" is a handsomely shot yet sluggish, muddled and misdirected drama that is the weakest movie that Lawrence and Cooper have made together. They usually make a solid pairing, but Lawrence's miscasting here as an outspoken feminist throws the story off by the fact she's too young for the role, though the biggest flaw may in fact could be behind the camera. Bier is an Oscar-winning director of such films as "After the Wedding" and her Oscar-winning film "In A Better World," but she isn't a good fit for the material, painting in broader strokes than the subtle ones needed for a heavy drama like this. Slow-moving and often confusing, particularly the national park subplot that isn't fully explored, there are a handful of decent moments but Bier can't quite get a handle on the material and what the film is trying to say, particularly in the final, twisty last act and the downer of an ending. The costumes, the score and the lush photography from Bier's usual cinematographer Morton Soborg are all first-rate, but "Serena" is an unsatisfactory and unmemorable drama that was shot in 2012, sitting on the shelf and only getting a release probably due to the wave of both Lawrence and Cooper's popularity, though this film won't advance their careers any. "Serena" isn't an awful movie, but considering Lawrence and Cooper's stellar previous efforts together, this comes as a great disappointment.

The Wrecking Crew - B

Rated G, 95 minutes
Wes's Grade: B

Fascinating musical documentary "The Wrecking Crew" gives full credit to 1960s session musicians

If you're a fan of such '60s pop groups as The Beach Boys, The Monkees, The Mamas and the Papas, Sonny and Cher, Herb Alpert, Jan & Dean and many more, then you've heard The Wrecking Crew and just didn't know it. They're a group of talented musicians who famously and anonymously backed these famous artists without getting credit, and the fascinating, energetic new documentary "The Wrecking Crew" seeks to give them full credit for their work. The film tells the story of these unsung musicians that provided the backbeat, the bottom and the swinging melody that drove many of the number one hits of the 1960's.  The Wrecking Crew was a nickname for this group of session musicians, including Tommy Tedesco and Carol Kaye that played during the 1960s. Directed by Denny Tedesco, son of Wrecking Crew member Tommy Tedesco, completed in 2008 (production started as early as 1996) and just now getting a wide release, perhaps influenced by the similarly-themed and Oscar-winning documentary "20 Feet From Stardom," "The Wrecking Crew" lacks the power and crowd-pleasing appeal of "20 Feet," (interestingly, Darlene Love appears here too in old clips) but isn't any less entertaining. The documentary provides many fascinating backstage stories, not to mention generous musical clips and interviews with many entertainers, including Cher, Herb Albert, Brian Wilson, the late Dick Clark and a pre-Alzheimer's Glen Campbell. But most important, we get a chance to hear from The Wrecking Crew themselves as they remember those days of "the Wall of Sound," from Tedesco and his family, an always fun and very talented Kaye, as well as other members Lew McCreary, Earl Palmer, Hal Blaine, Leon Russell, and Julius Wechter.  "The Wrecking Crew" is fast-paced and compelling, and most unfortunate that these talented players haven't received the proper credit their due, and hopefully this will have wider appeal than outside hardcore musicians. Thanks to a Kickstarter campaign, this helped get the film off the shelf to cover its music licensing fees and final production costs. A must-see for music lovers.

Wild Tales - B

Rated R, 115 minutes
Wes's Grade: B
In Spanish with English subtitles

Revenge is the order of the day in the enjoyable, over-the-top anthology drama "Wild Tales"

If you enjoy bloody revenge, then the wildly over-the-top and entertaining new Spanish-Argentine drama "Wild Tales" might be for you. The enjoyable Pedro Almodovar-produced anthology film, Oscar-nominated for Best Foreign film at this year's Oscars, certainly lives up to its title: it's certainly a wild and crazy time, most of which you would only see on film and not in real life. "Wild Tales" has to do with the inequality, injustice and the demands of the world in that cause us stress and depression. Some of them, however, explode. Vulnerable in the face of a reality that shifts and suddenly turns unpredictable, the characters cross the thin line that divides civilization and barbarism. The six tales told here are: "Pasternak," about an interesting plane ride; "The Rats," about an interesting dinner at a small restaurant; "The strongest," about two drivers with road rage; "Little bomb," about an angry owner of a towed vehicle; "The proposal," about an accident that goes awry; and "Until death do us part," about two newlyweds at their wedding party. Directed and written by Spanish-Argentine TV and film director Damian Szifron and co-produced by legendary, acclaimed Spanish film director Pedro Almodovar, "Wild Tales" is a memorable, truly wild experience you won't soon forget. All of the stories are standalone, with the theme of violence and revenge tying them together, much of it highly improbable, but still entertaining, though there are few sympathetic characters to be found here. Of the six episodes, the best is "Little bomb" and it's also the most realistic and restrained, with Argentine actor Ricardo Darin delivering an affecting turn as the put-upon dad trying to make his way, while "The proposal" is the most gripping, with a powerful performance from Argentine actor Oscar Martinez as the young man's father. The others are good, but also very, very over-the-top, with the road rage drama "The strongest" strangely enough the weakest, with some downright silly contrivances and character choices; "The rats" is the bloodiest, "Pasternak" the shortest and the final story, the wedding-themed "Until death do us part," by far the silliest. As wild as they all may be, if you've ever been treated unfairly, you can empathize with an aspect of each of the stories, and on that note "Wild Tales" may be crazy, but also thought-provoking and powerful. Put this one on your list to see.

Kidnapping Mr. Heineken - C

Rated R, 95 minutes
Wes's Grade: C

Crime never seemed so dull in the well-acted but banal "Kidnapping Mr. Heineken"

The well-acted but tedious true crime drama "Kidnapping Mr. Heineken" makes crime seem so bland, which is unfortunate given that the story is a worthy one to be told. It has a few entertaining moments but it seems a surface, unsatisfactory look. In 1983, a group of childhood friends led by Cor van Hout and Willem Holleeder (Jim Sturgess and Sam Worthington) pulled off the crime of the century: kidnapping one of the richest men in the world, the heir of the Heineken beer empire (Anthony Hopkins). The shocking capture--by gunpoint in broad daylight on the streets of Amsterdam--resulted in the largest ransom ever paid for a kidnapped individual. Directed by Daniel Alfredson (who directed two of the Swedish "Girl With the Dragon Tattoo" movies) and co-written by William Brookfield and Peter R. de Vries, the latter of whom wrote the novel "The Kidnapping of Alfred Heineken" that the film is based upon, "Kidnapping Mr. Heineken" is a mildly entertaining but sluggish portrait and real story of how some low level criminals hijacked one of the world's most famous men and nearly got away with it. "Mr. Heineken" is nothing new, and many other films have handled the same material much better, but certainly made better by Oscar-winner Hopkins as the titular character, who by far is the most memorable thing about the film, which is too bad given his part is a supporting one, but to his credit he is still a commanding presence in a film that is in need of one. Alfredson's misguided direction doesn't help, especially with the fact that Sturgess and Worthington, while good actors in their own right, aren't strong enough to carry the film or make these criminals interesting in any way. This version of "Mr. Heineken" is also not as near as fascinating as the real story and trial, in which the criminals were eventually caught and tried (this is all factual, in de Vries' novel and not a spoiler); the last act in particular is sluggish and problematic and even at 95 minutes, seems to go on too long. Aside from Hopkins, who's great as usual, "Kidnapping Mr. Heineken" could've been from a better cast and stronger direction that would've made this more interesting. Read up on the real story and skip the movie version (FYI - there's another, more obscure version with Rutger Hauer as Heineken made before this one).

What We Do In The Shadows - B

Unrated, 86 minutes

The cast of "What We Do In The Shadows"

Wes's Grade: B

Silly New Zealand comedy "What We Do In The Shadows" is a thin, silly mockumentary

The new comedy "What We Do In The Shadows" is a mockumentary that makes fun of other mockumentaries. From the makers of the HBO series "Flight of the Conchords," think of it as a Christopher Guest mockumentary crossed with a "Saturday Night Live"-style send-up of "Interview With the Vampire" or "The Blair Witch Project." The low-budget New Zealand comedy film has documentary team following a very unhip group of unusual friends (including Taika Waititi and "Conchords" Jermaine Clements and Rhys Darby). Ranging in age from 183 to 8,000, and in appearance from adorably youthful to Nosferatu-crusty, they squabble over household chores, struggle to keep up with the latest trends in technology and fashion, antagonize the local werewolves, cruise clubs for lovely ladies, and deal with the rigors of living on a very, very strict diet. Co-directed and co-written by Waititi and Clements, "What We Do In The Shadows" is an offbeat, very weird and often hilarious mockumentary send-up that should appeal mostly to all those "Conchords" fans who enjoy this silly type of humor. Honestly, there isn't much to it, but it's still fun, and you're sure to laugh at these very uncool, undead vampires who argue over women, food and fashion, and of course more hijinks and bad things are bound to happen when they let humans into their group (the vampires attempting to use a computer or phone is particularly funny or calling spaghetti "basketti"). "What We Do In The Shadows" may be a film you want to see again to catch some of the dialogue ("I am the guy from Twilight" one of them tells a woman in a bar) or other fun moments, some of which tends to happen quickly. It may not be for everyone but those that see it will enjoy it.

The Cobbler - C

Adam Sandler

Rated PG-13, 99 minutes
Wes's Grade: C

Wistful but wobbly comedy fantasy "The Cobbler" lacks focus and footing

The old saying goes, you never really know a person until you walk in their shoes, which is the premise of the intriguing but unfocused and wobbly new comedy fantasy "The Cobbler" which isn't the same low-brow stuff you'll typically find from its lead actor. Max Simkin (Adam Sandler) repairs shoes in the same New York shop that has been in his family for generations. Disenchanted with the grind of daily life, Max stumbles upon a magical heirloom that allows him to step into the lives of his customers and see the world in a new way. Sometimes walking in another man's shoes is the only way to discover who you really are. Directed and co-written by actor Thomas McCarthy, whose done better with such films as the Oscar-nominated "The Visitor," "The Cobbler" is a nice change of pace for Sandler's dumb, mindless stuff, but it's still not all that good, though he can't be blamed for all of it. McCarthy's sluggish script and episodic tone never really gel in spite of a talented cast and a few wistful moments; one of Sandler's frequent co-stars, Steve Buscemi, is fun as one of his fellow small business owner, while Dan Stevens,  Method Man and Ellen Barkin are among the folks whose lives Max experiences by walking a little in their shoes, while Oscar-winner Dustin Hoffman has a very brief cameo in one of the movie's better moments. "The Cobbler" seems intent on finding the fun and fantasy from putting on different people's shoes and never really providing any depth or meaning to the story as a whole, losing some of its footing especially in its unfocused second act. The sweet "The Cobbler" isn't terrible and is a slight improvement over much of Sandler's stuff, and he is good as the New York schlub who gets to have fun in other's people's shoes, but there doesn't seem much to it. Plus, I really wouldn't want to walk in everyone's shoes, as it's just unsanitary and unsafe. On that note, it may be best to just skip "The Cobbler" though Sandler should be commended for trying something different.

The Salvation - B

Rated R, 92 minutes
Wes's Grade: B
In English, with some Danish/English subtitles

Stylish and violent Danish western "The Salvation" isn't surprising but a satisfying yarn

The stylish, moody and bloody Danish western movie "The Salvation" pulls no punches and spares no one in the process. It's essentially a minimalist-style revenge flick that Eastwood would've done in the early 1970s, thus is no surprise in its ultimate outcome, but it's an entertaining, slow burn getting there. In 1870s America, peaceful Danish settler Jon (Mads Mikkelsen) kills his family's murderers which unleashes the fury of a notorious gang leader named Delarue (Jeffrey Dean Morgan). His cowardly fellow townspeople then betray him, forcing him to hunt down the outlaws alone. "The Salvation" is a handsome, well-cast and well-acted Danish production, directed and co-written by Danish director Kristian Levring that's an enjoyable, if none too surprising and violent, Western yarn that serves up an age old story. The nice production values aid "The Salvation," it's handsomely shot on location in South Africa by Jens Schlosser with some nice period music from Kasper Winding that help build some tension, particularly in its final, bloody act. Even with that, it's the stellar international casting that is most memorable, with acclaimed Danish star Mikkelsen, of such foreign films as "The Hunt" and "After the Wedding" to such big-budget American fare as "Casino Royale" (he's the bad guy) grounding the film as well as Costner or Eastwood could: he's peaceful and says little until you step on the wrong nerve, which would include killing his family. As the chief villains, Morgan ("Grey's Anatomy") and French actor Eric Cantona are suitably evil (killing innocent people at random is never a good thing), while Jonathan Pryce and Mikael Persbrandt contribute some good scenes as the town's weak mayor and Jon's skillful brother, respectively (however, a miscast Eva Green is given little to do in the resident, nonessential sexpot role). On the downside, the slow-moving "The Salvation" is exactly that, it's a downer, with a depressing tone and well-worn story, though some will find solace in the bloody but satisfying ending. Mikkelsen's unique, minimalist look has made him a star, and "The Salvation" should help further his career even more, and making this a Western that's worth a look. Playing in limited release in DFW at The Texas Theater and currently on Video on Demand (VOD).

Cinderella - B

Lily James is Cinderella

Rated PG, 105 minutes
Wes's Grade: B

Disney's lavish, satisfying new "Cinderella" mixes traditional with a few new twists

Disney's lavishly entertaining new version of "Cinderella" should please purists familiar with the story while giving it a lovely, fresh Disney coating. The lovely film is a bit slick for its own good and features a few unnecessary new twists to the story though it remains largely faithful to the original fairy tale, and thankfully, it's not ruined by 3D, special effects or some silly songs (thank you, Disney). Cinderella, played by "Downton Abbey's" lovely Lily James and referred as "Ella" through most of the film (providing a chance to remind us of the origins of Cinderella's name, her ashen, dirty face after working so hard), is a plain girl orphaned by her parents death and left to live with her evil stepmother Lady Tremaine (ravishing Oscar-winner Cate Blanchett) and her horrible stepsisters (Holliday Grainger and Sophie McShera). Her life changes when she meets Prince Charming, referred to as "Kit" here (played by "Game of Thrones" Richard Madden) and is helped along by her Fairy Godmother (Helena Bonham Carter), who helps prepare for the big ball. Directed by Kenneth Branagh ("Thor") and written by Aline Brosh McKenna and Chris Weitz, "Cinderella" is a lush, yet traditional version of the beloved story and overall satisfying, given it could've really pandered to the whole revenge angle that some versions tend to go toward. It's patterned after Disney 1950 animated version mixed with a little of Perrault's original fairy tale "Cendrillon" with a few twists to the story, some of which work well - the whole "Ella" thing - and others that don't (calling Prince Charming "Kit" is totally unnecessary and fails to connect). The A-list cast and stellar production values don't disappoint with some clean, crisp photography; in the film's most memorable turn, Blanchett could've easily walked off with the show and almost does, she seems to enjoy every minute being bad but can still keep her performance from going completely over-the-top, and she looks great in those stunning Sandy Powell (the multiple Oscar-winning costume designer) costumes. Bonham Carter is solid as The Fairy Godmother, but another unnecessary twist is having her initially as an old woman "watching" over them - pointless when you can make magically and instantly change your look - but Bonham Carter is still an effusive treat. As Ella and Kit, James and Madden are both good, if not bland, and completely upstaged by the wicked stepmother and the fun godmother, but they mostly make for a good couple. "Cinderella" has a handful of slow moments early on, but this is largely a magical, enjoyable effort from Disney that most in the family, especially young girls, will get a treat out of. Definitely worth a look and this also features the fun new "Frozen" short "Frozen Fever."

Run All Night - D

Ed Harris and Liam Neeson

Rated R, 114 minutes
Wes's Grade: D

Bloody and unoriginal, Neeson is at it again in the stale crime drama "Run All Night"

In 2008, Liam Neeson took the cinematic world by storm with his "special skill set" in the hit thriller "Taken," and since then he's become the go-to guy for the aged-good guy/bad-guy-in-peril crime stories. Bloody and overlong, Neeson and company pepper the seedy action thriller "Run All Night" with some entertaining moments, but this unoriginal crime drama can't overcome its cliches and stale script. This time out, Neeson is Jimmy Conlon, a mob hit-man and his estranged son Michael  (Joel Kinnaman) as they flee the wrath of his employer, a vengeful crime boss Shawn (Ed Harris) after Jimmy kills Shawn's corrupt son Danny (Boyd Holbrook). Written by Brad Ingelsby and directed by "Unknown" and "Non Stop" director Jaume Collet-Serra, Neeson seems to be sleepwalking through "Run All Night," a banal, hardly subtle and needlessly violent crime drama that pulls few punches and offers few surprises. The talented cast is badly directed, some of whom are wasted with minimal screen time, including the terrific Harris in a remarkably small role, who shares all of three scenes with Neeson (including the one pictured above), giving them little chemistry; instead the bland Kinnaman, seen as "Robocop" last year, is given more screen time with Neeson, a mistake since Kinnaman and Neeson have zero chemistry and Kinnaman is the weakest of actors. Rapper and recent Oscar-winner Common infuses some much-needed energy and fun as a squirrelly professional killer who won't go away, but arrives too late in the film (the last act) and his role largely nonessential; you may be surprised to see the always gruff Nick Nolte cameo as Neeson's dad, but you won't be surprised he looks like hell. Filled with the usual dirty cops, a lakeside cabin, loads of bullets and two cute small girls, as well as tons of cardboard characters and a messy, incoherent story, "Run All Night" is something you've seen many times, likely a variation of these roles that Neeson has played in the last few years. After the awful "Taken 3," it's another disappointment (I wanted to see more Neeson-Harris fracas, instead they mostly just shoot at each other) and one of Neeson's weakest action movies; even with an obvious take-the-money-and-run turn from an aging action hero, you rarely want to bet against him in a dogfight.  I wouldn't want to mess with any of Neeson's onscreen characters, and maybe it's just best to run away from "Run All Night" too.

'71 - B

Jack O'Connell

Rated R, 99 minutes
Wes's Grade: B

Engrossing war movie "71" isn't anything new but will keep you on edge

The gripping war film "'71" is a fictional story set against the backdrop of real events, the Northern Ireland Conflict in 1971, or as known to many, the Troubles. Bloody and intense, many aspects of it feel familiar but overall is a satisfying effort. Young and disoriented British soldier Gary Hook ("Unbroken's" lead Jack O'Connell) is accidentally abandoned by his unit following a riot on the deadly streets of Belfast in 1971. Beaten by a mob, he is alternately helped by random kindness from various locals and pursued by killers from both the Provisional IRA and the British Army's Military Reaction Force. The engrossing British action war film "'71" is directed by British TV director Yann Demange and written by playwright Gregory Burke, is stirring and well-acted, particularly in a breathless climax that will have you holding your breath. If it seems realistic, it's because "'71" was shot on location in Northern Ireland, using some of the same locals as the actual events; the screenplay doesn't delve into the complexities of the conflict as a whole, which is good since most Americans may not have a solid grasp of those events, instead focusing on the survival of O'Connell's character before his enemies get to him. On that note, the film's last act is a memorable, tense cat-and-mouse game that should have you on the edge of your seat until its satisfying conclusion; its twists and turns in that section in particular reminded a lot of another stellar war film, Spielberg's "Saving Private Ryan," which may tell you (without giving away spoilers) how the film turns out. O'Connell, who was beat up in the recent "Unbroken," gets hit quite a bit here too, but he handles it all very well. The often riveting and entertaining "'71" isn't revelatory in terms of war or action films, but it'll sure keep you engaged. Definitely worth a look.

The Lazarus Effect - D

Mark Duplass and Olivia Wilde

Rated PG-13, 83 minutes
Wes's Grade: D

Uninspired horror film "The Lazarus Effect" has little life in it

The silly new low-budget horror flick "The Lazarus Effect" is dead on arrival, and there's very little to bring it back to life. It does have an admittedly intriguing idea - of bringing things back to life - but it's so dull and uninspired there really isn't much to it. A team of ambitious medical professionals have found a way to bring dead patients back to life using a serum code-named "Lazarus". After several successful tests are done on animals, Zoe (Olivia Wilde), one of the lead researchers, dies in a lab accident. In desperation, the rest of the team, including her fiance (Mark Duplass), uses "Lazarus" to bring her back to life and they're successful. When she begins to display "unusual" abilities, the team realizes that their attempt to resurrect the dead may have opened the door to evil. Directed by David Gelb and co-written by Luke Dawson and Jeremy Slater, "The Lazarus Effect" is a stunningly boring, banal horror film that has very little going for it, though I liked its premise and in particular, its lead actress, the lovely Wilde, who is wasted here (and plus, she truly isn't evil enough, without giving too much of the plot away) along with the usually good Duplass, who is seen to better effect (no pun intended) on his HBO series "Togetherness." Plus, much of it is just plain dumb, without many genuine scares or creepiness, though I did find the resurrected dog watching Wilde sleep a tad chilling, but it's only for a few seconds of screen time. The dumb finale does have some energy to it, though it takes a long, long time to get there, and the minimal special effects seem to show up the movie's small budget. Some horror film enthusiasts might like "The Lazarus Effect," but for the rest of us, it's just best to skip.

Chappie - C-

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

Sci-fi flick "Chappie" has some nice visuals, but is mostly a clunker

Science-fiction filmmaker Neil Blomkamp remains one of cinema's brightest new stars, particularly after his first two compelling films, "District 9" and "Elysium," but every filmmaker has misfires, and the new sci-fi drama "Chappie," about an experimental robot, is certainly going to be one of Blomkamp's lesser efforts. In spite of the solid visuals, the story and characters are far less memorable. In the near future, crime is patrolled by an oppressive mechanized police force. But now, the people are fighting back. When one police droid, Chappie (Charlto Copley), is stolen and given new programming, he becomes the first robot with the ability to think and feel for himself. As powerful, destructive forces start to see Chappie as a danger to mankind and order, they will stop at nothing to maintain the status quo and ensure that Chappie is the last of his kind. Directed and written by Blomkamp, the mildly entertaining but incoherent "Chappie" is mostly a clunker, despite an original concept and some intriguing special effects. Unfortunately, Blomkamp is mostly to blame here too, with a sledgehammer approach that is hardly subtle; the characters are strictly one-dimensional and painted in such broad strokes, that it's hard to believe this is the same director of the thought-provoking "District 9," which is one of the best science-fiction films of the past few years. It's unfortunate that "Chappie" wastes such a talented cast too, including Dev Patel, Hugh Jackman (sporting one of the worst mullets of recent memory) and Sigourney Weaver, as well as Blomkamp's muse of sorts, Copley, whose previous collaborations with the director are far more memorable than "Chappie." The film is most unfocused in a much slower second act, when it takes considerable time to get the robot up and going again, and the film becomes an uneasy mix of cutesy and bloody. The nifty special effects, which are Blomkamp's trademark, have been done on a modest scale here, and the production values overall are great, and while "Chappie" has a few good moments, the sum of its parts don't quite add up. Hopefully this won't affect Blomkamp too much, who has been charged with the daunting job of rebooting the "Alien" franchise (a deal obviously made before this was seen), and he is certainly an intriguing choice for that job. There have been many great films made about robots, though "Chappie" isn't one of them. Rent Blompkamp's debut, "District 9," for a much better experience.

Unfinished Business - D

Rated R, 90 minutes
Wes's Grade: D

Flat and unfocused "Unfinished Business" is one of Vaughn's worst comedies

As much as I hate to say it, Vince Vaughn's last truly great comedy was nearly 10 years ago in "Wedding Crashers." Some of you may disagree with that assessment, but I'm afraid it's true. Vaughn is certainly charming (though annoyingly chatty) but his unfocused, unfunny new comedy "Unfinished Business" has to rank as a low point for the comic actor in spite of the actor's charms. Hard-working small business owner Dan Trunkman (Vince Vaughn) and his two associates Tim and Mike (Tom Wilkinson, Dave Franco) travel to Europe to close the most important deal of their lives. But what began as a routine business trip goes off the rails in every imaginable - and unimaginable - way, including unplanned stops at a massive sex fetish event and a global economic summit. Directed by Ken Scott (who directed the Vaughn vehicle "Delivery Man") and written by Steven Conrad, the flat "Unfinished Business" is an incoherent mess, though it isn't all Vaughn's fault, given that it's simply a poorly directed and badly written film with long stretches where little, including any funny moments, happen, except to have Vaughn yak on about one thing or another. It wastes a terrific, acclaimed actor in Wilkinson, who must've needed the money, and likable one in Franco, who's character is the most baffling and unfortunate (and despite how the script treats it - having a last name of pancake is actually kinda cool): is he special needs or not, because he really doesn't act like it. The mid-section of the film, where the trip traipses across the globe, is most unfortunate, and a scene in a German bathroom with some male private parts is just gross and weird; as well, unnecessary sections with Dan's family involving a bullying subplot, in which Dan must stop and talk to them via face time, tends to make the action come to a grinding halt. You could say that "Unfinished Business" is a an unfinished, unpolished and unoriginal film, and it mostly feels like "Horrible Bosses" set on the road, except these dumb guys are just their own worst boss. This mess of a film seems to be a cry by Vaughn for career guidance (Johnny Depp needs some too), and maybe his turn in the upcoming season of TV's "True Detective" will give him some much-needed resurgence, and we look forward to seeing what that does. As for "Unfinished Business," it's one to skip.

The Second Best Exotic Marigold Hotel - B-

Judi Dench and Bill Nighy

Rated PG, 122 minutes
Wes's Grade: B-

Unsurprising "The Second Best Exotic Marigold Hotel" delivers more warm charm of the first film

When a sleeper hit like the 2012 dramedy "The Best Exotic Marigold Hotel" comes along, it's hard to duplicate its success, but its enjoyable, sweet sequel, "The Second Best Exotic Marigold Hotel," while providing little variation of the first film, certainly does try, and the calculated appeal of the story is only held together by the charms of its talented cast. The story tells of the expansionist dream of Sonny (the always energetic Dev Patel), and it's making more claims on his time than he has available, considering his imminent marriage to fiance, Sunaina (Tina Desai). His hotel has only a single remaining vacancy - posing a rooming predicament for fresh arrivals Guy (Richard Gere) and Lavinia (Tamsin Greig). Evelyn and Douglas (Judi Dench and Bill Nighy) have now joined the Jaipur workforce, while Norman and Carol (Ronald Pickup and Diana Hardcastle) are negotiating the tricky waters of an exclusive relationship, as Madge (Celia Imrie) juggles some interested suitors. Perhaps the only one who may know the answers (and everyone's secrets) is the new co-manager of the hotel, Muriel (Maggie Smith). Directed by "Shakespeare in Love's" John Madden, written by Ol Parker and handsomely scored by Thomas Newman, all of whom delivered the first film to international success, the warm "The Second Best Exotic Marigold Hotel" is more of the same as the first film, yet a fun continuation of the adventures of the senior set, and on that note, this is likely to skewer to the older folks, which is none too surprising. The charming film is held together by its large, gifted cast, particularly Oscar-winners and veterans Dench and Smith, who fortunately share a few more warm scenes this time out, but much like the first film, "Second Best" uses their talents in a divide-and-conquer type of attitude, keeping them separated most of the movie; Dench is as lovely as ever with her golden white hair, while the always fun and usually cranky Smith in particular is quite the tart here, stealing scenes with some of the movie's best lines ("just because I'm looking at you doesn't mean I'm actually interested in what you're saying," she tells one character). Patel is charming but also a little too hyper (dude, please, chill), and Gere a good addition to the proceedings, but even with that, the modestly enjoyable but unoriginal "The Second Best Exotic Marigold Hotel" isn't much other than a slightly overlong and predictable geriatric soap opera about surviving in India, and if you're interested in that sort of thing (and enjoyed the first film), then you'll have a good time here. My only hope is that there isn't a "Third Best Exotic Marigold Hotel," or they find a better name for a sequel, and the hotel.

Maps to the Stars - B

Rated R, 112 minutes
Wes's Grade: B

Robert Pattinson

"Maps to the Stars" a hypnotic, disturbing look at the dark side of Hollywood

Acclaimed director David Cronenberg started his Hollywood career as a horror film director, with some memorable films such as "Scanners," "Videodrome" and "The Fly," though recently he's been mining the dark dramas, including his hypnotic, well-acted new behind-the-scenes drama "Maps to the Stars," which looks at the horrors of show business and Hollywood. Stafford Weiss (John Cusack) is a famed Hollywood TV self-help therapist with an A-list celebrity clientele. Meanwhile, his wife (who is also his sister) Cristina Weiss (Olivia Williams) manages the career of their disaffected child-star son, Benjie ("The Killing'" Evan Bird), a fresh graduate of rehab at age 13. Unknown to them, the estranged member of the Weiss family is back in town, the mysteriously scarred and tormented Agatha ("Stoker's" Mia Wasikowska), fresh out of a stint in a psych ward. She befriends a limo driver (Robert Pattinson) and becomes personal assistant to unraveling actress Havana Segrand (Oscar-winner Julianne Moore), who is beset by the ghost of her legendary mother, Clarice (Sarah Gadon). But Agatha is on a quest for redemption - and even in this realm of the artificial, and the unearthly, she's determined to find it, no matter what it takes. Directed by Cronenberg and written by Bruce Wagner, the disturbing new Hollywood drama "Maps to the Stars" is a pretty savage, downbeat portrait of show business, and while often difficult to watch, you also won't be able to turn away.  It's those of those slow-moving "Crash"-like thread of intersecting stories, peppered with some shocking Cronenberg moments, particularly its depressing climax, which has a couple of strangely watchable moments (my favorite involving a very bloody moment involving Wasikowksa and Moore's characters that I won't spoil here), and one of the most enjoyable things about it is that Carrie Fisher, who cameos here as herself, is responsible for some of the darker moments. Of the large cast, Moore is the most memorable as the blowsy, washed-up actress haunted by her famous but mean actress mother, and Bird, as the star kid who'll put any of the Corey's to shame with all his problems. The ghosts popping in and out gave it a disjointed feel - yes, we get the point - they're haunted by their problems - and there are too many extraneous characters with little to do (Cusack and Pattinson among them, along with a host of minor characters tagging alongside Bird's character), not to mention there's not a single sympathetic character in the bunch, though maybe that's the whole point. "Maps to the Stars" is weird, depressing and disturbing, something that Cronenberg is an expert at, and while it's not for everyone, it's certainly worth a look for a different view of Hollywood.