The Water Diviner - C+

Rated R, 111 minutes
Wes's Grade: C+

"The Water Diviner" a handsome but whitewashed look at World War I

I enjoy historical, fact-based dramas that have an entertaining mix of romance, drama and action. The new drama "The Water Diviner," directed by and starring Oscar-winner Russell Crowe strives for that and on some levels succeeds, but ultimately fails in overlooking some crucial facts about Turkey in World War I. Set in 1919 at the close of World War I, Australian farmer and water diviner (Russell Crowe) travels to Turkey after the Battle of Gallipoli to try and locate his three missing sons. The modestly entertaining "The Water Diviner" is an epic film that some may enjoy, at least for those who may not know their history. The slick, well-acted production (based on a novel of the same name) is handsomely filmed and scored, filled with a poignant, fictional story (ala "Saving Private Ryan") and peppered with some good action scenes that use a real battle, the Battle of Gallipoli, as the backdrop for which Crowe's widowed character goes to search for his sons. Crowe, who gives a strong performance here, has always been a stellar actor and can add competent director to the list, and he is striving for an "Out of Africa" Sydney Pollack-esque feel to it, and he would've succeeded with a better film had he not egregiously overlooked some important facts about the time period. Namely, the film overlooks the Armenian genocide, in which the Ottoman reign killed 1.5 million Armenians in World War I, providing a template for what Hitler would do later on; on that note, it's akin to making a film about Germany or Poland during World War II and not including anything about the plight of the Jews. Cinematic license is one thing, but not a single reference to this regrettable historical act borders on the shameful. Cinematically, that is a shame too, since Crowe's "The Water Diviner," a modestly entertaining and affecting story about reuniting family and finding new love, is a serviceable film otherwise. If you see it, I'd recommend also reading up on the historical time frame, to give you balance to history from a film that doesn't provide it.

Monkey Kingdom - B

Rated G, 82 minutes
Wes's Grade: B

"Monkey Kingdom" a predictable but enjoyable look at a family of monkeys in the jungle

Well, all I can say, is that Disney knows a good formula and sticks with it. Since 2007, in honor of Earth Day, Disneynature has produced a series of nature documentaries aimed at families at helping to promote nature, typically through the animal kingdom. This time out is the enjoyable, heartwarming "Monkey Kingdom" that tells the story of survival of a particular type of monkey in Sri Lanka, even if the slickly-produced documentary pulls absolutely no surprises. Maya is a toque macaque (a type of jungle monkey) whose world is changed when her son Kip becomes part of her extended family. When their home is overrun by a neighboring tribe of monkeys, the family has to find a new home. Maya uses her inherent smarts to lead them to new resources, but it develops that the entire group will have to cooperate in order to reclaim their original home, where Maya wishes to advance her son's future within her tribe. Directed and produced by Mark Linfield and Alistair Fothergill (who directed the first Disneynature release, "Earth") and narrated with amusing warmth by comedian Tina Fey, "Monkey Kingdom" is entertaining for the family and those who enjoy these "nature epics," though it seems to stick closely to the Disney formula. Lushly photographed using Sony F65 digital cameras, handsomely scored by acclaimed composer Harry Gregson-Williams and memorably told by Fey ("that's 15 pounds of hunky monkey" she says of Maya's suitor), "Monkey Kingdom" fits perfectly into the mini-niche that Disney has built with this documentaries, and the best part is they let the animals be the star of the show and tell their own story naturally. There's not a bad part per se, except that fact that have happy, predictable endings, with the animals ultimately reaching their destination(s), but not with out some challenges along the way (among them this time: a group of meanie, selfish monkeys in the "family" known as "the sisters"), allowing us to appreciate our journey and Earth's resources more. There's nothing wrong with that, though, with these films, it's all really expected, with absolutely no surprises. I enjoyed the adventure of Maya in the short, sweet and calculated "Monkey Kingdom" (and the baby monkeys are just too cute - there's no way you could hate them), even if you know exactly how it's going to turn out. Definitely for families and nature lovers.

Little Boy - D

Rated PG-13, 106 minutes
Wes's Grade: D

"Little Boy" an icky sweet mixture of history and faith

"Little Boy" is a big mess of a movie. The movie is an icky combination of faith, history and sentimentality, ringing false at every turn and wasting a terrific cast from a decent director. The movie is about a little boy (newcomer Jakob Salvati) who is willing to do whatever it takes to bring his dad (Michael Rapaport) home from World War II alive and challenging those around him: his family (Emily Watson, David Henrie), his priest (Tom Wilkinson) and his doctor (Kevin James). Directed and co-written by Alejandro Gomez Monteverde ("Bella"), "Little Boy" is a forgettable piece of faith-based historical dreck that has a talented cast and a promising story that is drowned by the preachy tone and sentimentality of it all - in other words you (like me and many who have already seen it) won't buy a bit of what's being sold. Unlike other faith-based films, this one actually has a modest budget and some great actors: Watson, Wilkinson and Rapaport in particular have all done great work before, though neither of them may want to include it on their resume (as for James, the most recognizable name to many because of "The King of Queens" TV show and his awful Sandler movies, I'm unsure what he's even doing in this movie). Among the many things I had a hard time with, is how to correlate being picked on and being taken prisoner of war can relate to each other, and how a little boy and religion can relate to the atomic bomb. Some of the messages can be appreciated, especially its messages of inclusion and friendship, but it comes under a load of sentimentality, as it isn't necessary to pull on the heartstrings at every turn and then throw in a an unnecessary, redundant message about faith. As a believer myself, I can appreciate the message,  but dislike how the message is being portrayed. I wish for the sake of the filmmakers, and in this case a terrific cast, that they could find the right message and tone. The unfortunate mess that is "Little Boy" does not and should be skipped.

The Age of Adaline - C

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

Predictable and corny, "Adaline" is helped by its handsome leads

The corny but entertaining and touching new drama "The Age of Adaline" should be called "Ageless Adaline," starring the effervescent Blake Lively of "Traveling Pants" and "Gossip Girl" fame. And don't believe anyone who tells you it isn't a "chick flick" though admittedly it does have some crossover appeal to non-females; its premise clings to the notion of really holding on to 29 - forever. After miraculously remaining 29 years old for almost eight decades, Adaline Bowman (Lively) rarely allows herself to get close to anyone who will learn her secret but a chance encounter with charismatic philanthropist Ellis Jones (Michiel Huisman) reignites her passion for life and romance. When a weekend with his parents (Harrison Ford and Kathy Baker) threatens to uncover the truth, Adaline makes a decision that will change her life forever. Directed by Lee Toland Krieger ("Celeste and Jesse Forever") and co-written by J. Mills Goodloe ("The Best of Me") and Salvador Paskowitz, the predictably engaging romance drama "The Age of Adaline" puts a slightly different spin on the romantic notions of growing old and happily ever after together, especially when one of you never seems to age. The lovely Lively and Huisman (he's a minor character from "Games of Thrones") make for a warm pairing, and their bland charm carries the movie through a very calculated last act. As a matter of fact, I really bought into its pensive, poignant first act as it explored the sadness and solitude of never aging, and I enjoyed the fact Oscar-winner Ellen Burstyn's believably plucky older-than-Mom daughter - but the last act - when Ford's character comes into the picture, that it grows a little creaky (despite the fact Ford looks dashing as ever in a gray goatee). That unnerving plot contrivance almost stole my breath away, and it became more difficult for me to understand how in a universe this big, that all of these folks would somehow be this connected. As for the science of it all, it's rather preposterous, but if you don't think about it much and focus on the handsome leads and the always picturesque San Francisco visuals, you'll enjoy "The Age of Adaline" just fine. Without giving away any spoilers, you'll also be glad to know that it's just fine to grow old, as long you grow old with someone you love. Just know that if you go to "Adaline" this week expect to go with him to the new "Avengers" flick next week as payback.

The Clouds of Sils Maria - B

Juliette Binoche

Rated R, 123 minutes
Wes's Grade: B

Affecting, well-acted "Clouds of Sils Maria" explores the feminine pursuit of happiness

The engaging, affecting dramedy "Clouds of Sils Maria" has a strong feminine streak to it, though it's not a feminist movie (or click flick) per se. The well-acted film features three strong actresses, each with a different purpose. Maria Enders (prolific Oscar-winner Juliette Binoche) is an acclaimed international actress at her peak who is asked to perform in a revival of the play that made her famous twenty years earlier, except this time she's asked to play the part of the older woman, Helena. A young Hollywood starlet with a penchant for scandal (Chloë Grace Moretz) is to take on the role of the younger Sigrid, the part Maria originated years earlier. With her assistant Val (Kristen Stewart), Maria goes to rehearse in Sils Maria, a remote region of the Alps, where she gains insight and purpose into her personal and professional life. Directed and written by French director Olivier Assayas, the lushly Switzerland-filmed and compelling "The Clouds of Sils Maria" is a talky, slow-moving but thoughtful, touching film about the feminine pursuit of happiness at different stages of life. Grounded superbly by the always beguiling French actress Binoche (who, along with other Oscar winners Anne Hathaway and Charlize Theron, can rock a short haircut), it could've easily been a drab behind-the-scenes and play-within-a-movie that we've seen so much of lately, but the warm chemistry between Binoche and the excellent Stewart make the film intriguing viewing. As Maria's long-suffering, smart assistant, Stewart's witty, often blunt performance is the highlight of the film and is easily its most vivid turn, proving along with the recent award-winning "Still Alice," that Stewart has an identity outside of "Twilight" and she can keep up with older, Oscar-winning actresses; Stewart was also seemingly well-cast, as some of the themes mirror her real career. The lovely Moretz, with considerably less footage than Binoche and Stewart, is believable as the young starlet who is essentially another version of Maria herself. Told over three "acts" much like a real play, the thought-provoking "Clouds of Sils Maria" is too long and overly symbolic in its parallels between real-life and play characters, but its strong performances from Binoche and Stewart (who has won some international awards for the part) will keep you engaged and talking afterwards. Definitely worth a look.

DIFF - Texas vs. that other school

We all know that football is its own religion in the state of Texas, especially at the collegiate level, which is the premise of the new documentary "Lone Star Holy War" that chronicles the intense rivalry between The University of Texas and the other Texas school, Texas A&M (yes, if you haven't figured out, I am a Longhorn). Loaded with history, interviews and generous football clips over the years, the movie speaks to the 118-year old rivalry that ended on November 24, 2011 with a win by Texas, who also holds the overall record in the age-old rivalry. Directed by Lindell Singleton (no relation to me), "Lone Star Holy War" is fun and can certainly be appreciated by either side (he features an assortment of interviews with fans on both sides, not to mention many sports columnists, including one of my favorites, Norm Hitzges) though it lacks a sense of professionalism and real insight, which is unsurprising given this is Singleton's debut film. It also would've been nice to feature more interviews with such legendary figures as Earl Campbell or Mack Brown, both of whom are surprisingly absent from the film, which could've elevated its relevancy in getting these two teams to play again. Wherever your allegiance lies (as for me: Hook 'em Horns!), you may enjoy some part of "Lone Star Holy War," which doesn't have a release date or distributor yet.

Paul Blart: Mall Cop 2 - D-

Kevin James as Paul Blart

Rated PG, 94 minutes
Wes's Grade: D-

Unfunny and unnecessary "Paul Blart: Mall Cop 2" stakes its claim as one of the worst of the year

Get on your segway and hightail it away from the worst new comedy of the year,  Kevin James' "Paul Blart: Mall Cop 2," an unnecessary and unfunny sequel to the inexplicably terrible 2009 comedy "Paul Blart: Mall Cop." Unless, you're a huge Kevin James fan and really, really want to see this dreck, I'd stay far away from it. After six years of keeping our malls safe, Paul Blart (James) has earned a well-deserved vacation. He heads to Vegas with his teenage daughter before she heads off to college. But safety never takes a holiday and when duty calls, Blart answers. We wish the filmmakers did their duty and didn't inflict this horrible comedy known as "Paul Blart: Mall Cop 2" on us, given how bad the first one was. Directed by Andy Fickman ("The Game Plan") and co-written by James and Nick Bakay, "Paul Blart 2" is a big piece of dreck and an embarrassment for all involved, particularly James, who should've known better. Set in Las Vegas with the hapless Blart trying to stop a criminal (Neal McDonough) from stealing a bunch of casino loot, it's sloppy, unfunny, sappy and plays to the most annoying and grating habits of James, his special ability to mug or play to the lowest common denominator, which ultimately shows what a true slob he is. The only redeeming qualities (and there are few), is the fact it has lovely Disney TV star Raini Rodriguez as Blart's smart daughter, who may help appeal to families, and it features all-too brief appearances from "SNL" vets Ana Gasteyer and Molly Shannon as hotel guests. Sure, it's blandly wholesome in a very dumb way, but you'd be hard-pressed to find many, if any laughs at all in the dreadful "Paul Blart: Mall Cop 2," whose most memorable performance comes from slick Segway's featured in the film, and the Segway people would've surely reconsidered having their products so prominently featured if they knew how bad this was going to be. Do your duty and stay away from this awful movie, which was unsurprisingly brought to you by Adam Sandler's production company, Happy Madison.

Unfriended - B-

Rated R, 82 minutes
Wes's Grade: B-

It pull few surprises, but the original horror film "Unfriended" speaks to a new level of cyber revenge

Be very careful when you unfriend someone on social media, it could definitely come back to haunt you, which is the premise of the relevant new teen horror film "Unfriended," which combines the found footage genre with technology and social media. There are a few decent scares in the film, even if it all seems a little calculated, especially near the end. The movie unfolds over a teenager's computer screen as she and her friends are stalked by an unseen figure who seeks vengeance for a shaming video that led a vicious bully to kill herself a year earlier. "Unfriended" is a solid, original horror film that's not as bad as you might think and is actually quite creepy until all the killings start. Directed by Russian filmmaker Levan Gabriadze in his feature debut and co-produced by "Wanted's" Timur Bekmambetov and horror film producer Jason Blum, the entertaining, chilling "Unfriended" (featuring a load of mostly unknown young twentysomething actors) takes cyber revenge to a new, eerie level; originally called "Offline" then "Cybernatural," it's above average for found footage films and provides a few jumps along the way. It's original premise, having all of the action take place over a computer screen, and some of the creepy, unseen cyberstalking gives it a creepy vibe early on, and while the killings are certainly entertaining, it's also the most predictable, unsurprising aspect of the movie (watch out for blenders and electric hair straighteners). "Unfriended" is an original horror film that has gained word-of-mouth on the film festival circuit over the last year, and is certainly worth a look for horror film aficionados. If it's a hit, it could spawn a sequel about someone who loses it after being inundated with ads on social media.

Child 44 - C

Rated R, 137 minutes
Wes's Grade: C

Well-acted but overlong drama "Child 44" lacks thrills

"Child 44" is a moody, well-acted but dull thriller about a 1930s-era serial killer. On paper, it must've looked better: a decent director, a great cast and an intriguing story that fell apart during execution. Set during Stalin's reign in the 1930s, Russian secret service agent Leo Demidov (Tom Hardy) loses status, power and home when he refuses to denounce his own wife, Raisa (Noomi Rapace), as a traitor. Exiled from Moscow to a grim provincial outpost, Leo and Raisa join forces with General Mikhail Nesterov (Gary Oldman) to track down a serial killer who preys on young boys. Directed by Daniel Espinosa ("Safe House") and written by Richard Price, based on Tim Rob Smith's novel of the same, the overlong "Child 44" is a well-acted yet overly ambitious drama that becomes bogged down in enough subplots for another whole movie. The three leads are solid, especially the usually intense Hardy ("The Dark Knight Rises"), who can manage a Russian accent quite well, and it helps he's worked with his two other leads before (Rapace in last year's affecting contemporary crime drama "The Drop" and his "Dark Knight" co-star Oldman), and the three have a comfortable chemistry together as their characters work together to solve the crimes. Problematic is the fact that "Child 44" is too long and meanders in its talkier, much slower middle act, making the film feel much longer than it really is, not to mention the fact that the actor playing one of the antagonists, the bland Joel Kinnaman of "Robocop" fame, hurts the film in a miscast performance. The costumes, the photography and the music are all well-done and add to its moody tone and Espinosa has some good, gripping scenes, especially near the end, but there's not enough thrills to sustain interest overall. "Child 44" isn't a terrible movie, but considering the source material and the A-list cast, it could've been much, much better. As an interesting side note, the serial killer is based on a real Russian killer, the Kostov Ripper (Andrei Chikatilo), who unlike the killer in the film, was a contemporary figure.

Ex Machina - B+

Alicia Viklander as Ava

Rated R, 110 minutes
Wes's Grade: B+

Sci-fi drama "Ex Machina" a stylish, smart look at man vs. machine

When was the last time technology failed you, or was it the other way around? The new science-fiction drama "Ex Machina" explores those ideas and more in stylish fashion: it's a visually stunning yet thought-provoking tale that will have you talking, and in a good way and while some it may get a tad heavy-handed, it's still a satisfying experience. Caleb Smith (Domhnall Gleeson), a programmer at an internet-search giant, wins a competition to spend a week at the private mountain estate of the company's brilliant and reclusive CEO, Nathan Bateman (Oscar Isaac). Caleb learns that Nathan has chosen him to be the human component in an experiment charging him with evaluating his latest breathtaking A.I. case, known as Ava (Alicia Vikander), whose emotional intelligence proves far more sophisticated than the two men could've imagined. The compelling "Ex Machina" is a wholly original, intriguing piece of work from director and writer Alex Garland in his directorial debut, and the writer of such films as "28 Days Later" and "Never Let Me Go" shows a polished skill at bringing most of his ideas to life. "Machina" has some "Her" mixed with large doses of "Frankenstein" and the first "Terminator," with Garland's strong mix of human drama and subtle special effects showing the same potential of a young James Cameron. It's well-acted in what is essentially a three-person play: the geeky Caleb, the cunning Nathan (both believeably played by Gleeson and Isaac, respectively) and of course the deceptively lovely Ava, in a breakout role played memorably by the beguiling svelte Swedish actress Viklander, who'll you see much more this year: this is among her 8 films she has out this year (this is her third film already). Besides its seamless special effects, "Ex Machina" is handsomely photographed, giving it a suitably slick, smooth feel to it, and the electronica score from Ben Salisbury and Geoff Barrow gives it a creepy vibe, particularly in its initial chapters, effectively adding to its man vs. machine subtext. In the ongoing battle of style over substance, style usually wins out, and on that note "Ex Machina" doesn't fully explore its varied themes (just what is really behind those many power surges), making some of it seem a little disconnected, while other ideas seem a little too ironic, but overall "Ex Machina" is a smart, compelling look at man versus technology, and often when our human notions fail us, technology wins out. Remember that when you post (or at least attempt to) on social media about the film. Definitely worth a look, it's one of 2015's best films so far.

True Story - C

Rated R, 100 minutes

James Franco as Christian Longo

Wes's Grade: C

Tedious "True Story" has a few creepy moments

Some stories are so bizarre it's hard to believe when they're actually told, and the new crime drama "True Story," based on actual events, is one of those. The well-acted story is intriguing, but is immensely slow and muddled, lacking tension and momentum. When disgraced New York Times reporter Michael Finkel (Jonah Hill) meets accused killer Christian Longo (James Franco) - who had briefly taken on Finkel's identity while he was on the run - his investigation morphs into an unforgettable game of cat-and-mouse and relentless pursuit of the truth. Directed by British TV director Rupert Goold in his feature film debut and written by David Kajganich, based on Finkel's account of the events, the true story in "True Story" had to be much memorable than this jumbled, tedious slog of a movie. Granted it's a suitably bizarre story, emanating a creepy vibe, and Franco in particular is good as charming convicted killer Longo, but it lacks an emotional core and energy to keep the audience's interest, not to mention it wastes a terrific actress in the recently Oscar-nominated Felicity Jones from "The Theory of Everything" as Finkel's wife. The Finkel-Longo jailhouse conversations, which are designed to be the backbone of the film, lack any real interest and it doesn't really explore Longo's motivations to commit crime, which are skimmed over in an unusual montage in the first act, with the final courtroom scene coming across simply as a plot contrivance, especially after a slow-as-molasses second act that tries to play detective but ends up muddling the plot even further. The real story behind "True Story" is far more interesting (Finkel and Longo, for some reason, continue to have weekly talks to this day, but you wouldn't get that based on their last conversation in the film) than this modestly creepy but boring account of it.

DIFF & Dirk

I had the opportunity to see one of the better films of The Dallas International Film Festival, the charming and entertaining documentary on Dallas Mavericks and NBA star Dirk Nowitzki, called "Nowitzki: The Perfect Shot," directed by German filmmaker Sebastian Dehnhardt and produced by Emmy-award winning producer Leopold Holsch. The film, which has already been released overseas, focuses on Nowitzki's relationship with his personal coach and mentor Holger Geschwindner, whose unconventional methods helped turn Nowitzki's from lanky dribbler to a superstar athlete who has been awarded with the NBA Finals MVP, league MVP and numerous All-Star appearances. It's a "warts and all"-style documentary, focusing on the good and the bad, along with shedding some light on his personal and family life; it also has numerous interviews, with the likes of Mavericks personnel, players and other NBA colleagues, including Rick Carlisle, Don Nelson, Donnie Nelson, Michael Finley, Jason Kidd, Kobe Bryant and Mark Cuban, all who have good things to say about the normally private Nowitzki, who seems honest, humble and unaffected by his fame and fortune. It also shows his humorous side, with some help from his wife Jessica, who shows some pictures of Dirk dressed as tennis superstar Martina Navratilova (Dirk himself played tennis as a youngster, before giving it up for basketball full-time: good choice), one of my favorite moments. Overall, it's a fascinating, entertaining and balanced portrait of the German NBA superstar, who seems to be one of the good ones. A must-see for Dirk and Mavs fans, and one of the highlights (of course) shows the Mavs winning the championship in 2011 (and unfortunately, also losing it in 2006).

DIFF - 4/11

I saw three very different films today at DIFF. I saw "Sweet Kandy," "The Thunder Broke the Heavens," and "Raiders: The Story of the Greatest Fan Film Ever Made."

"Sweet Kandy" is modestly compelling, dark drama set in Louisiana. From Australian-born director and writer Nichols Peate in his feature debut, it's part film noir and part romance; it's slow-moving, efficiently shot and well-acted by the leads (newcomers Novella Robinson and Reg E Cathey, who looks like a young Matt Damon) and also features a familiar face in Charles Robinson, who you may remember from the "Night Court" TV series. Peate has some narrative and tonal issues, but it's a decent debut. I'm unsure if and when this receives a wide release.

"Thunder Broke the Heavens" is also a dark but compelling and superbly-acted Texas-shot drama from documentary filmmaker Tim Skousen, about two kids, 13-year old Samantha (Alexandra Peters) and her 6-year old brother William Paul (Gavin Howe) who endure a brutal and tragic family situation that leaves them in foster care, only to be forced into living in the woods on their own. Peters and Howe are wonderful in this low-budget but handsomely shot film and Peters in particular is a revelation as the smart, talented Sam, who makes decisions for the pair to keep them alive, and can also beautifully play a guitar and sing. It rambles some in a redundant last act, but it's otherwise a poignant movie that will hopefully find its way to theaters soon.

"Raiders: The Story of the Greatest Fan Film Ever Made" (also called "Raiders: The Adaptation" in some circles) is a documentary about a few boys in Mississippi who in 1982 at the age of 12, started remaking shot for shot Steven Spielberg's classic action 1981 blockbuster "Raiders of the Lost Ark," something they did for several years; they finished every shot except one, which this documentary explores. This crowd-pleasing, fascinating documentary was also co-directed by Tim Skousen, who did "Thunder Broke the Heavens" above, and Jeremy Coon, who focus on the adventures of Eric Zala and Chris Strompolos, who are now grown adults with families, yet who take time from their busy schedules to raise money to finish the last shot (the one where Indiana Jones is fighting the Nazi on a small airstrip and an airplane gets in the way). Admittedly, it's a cheesy but novel idea (and much of it makes "Plan 9 From Outer Space" look like "Citizen Kane"), but is also fascinating for the amount of time it took the boys to complete it. As well, it's inspiring the amount of commitment and time Zala and Strompolos had (and still have) to see it all the way through. This should be released soon and is definitely worth a look, especially for cinema enthusiasts, who'll get a kick out of it all.

DIFF - 4/10

The Dallas International Film Festival is now in full swing at the Angelika Theater in Dallas, Texas. There are around 160 films playing throughout the 11 day festival, and I had a chance to see two of them today, two enjoyable geriatric-themed films, "I'll See You in My Dreams," and "5 Flights Up," both of which open in the DFW area in mid-May of this year. I'll have full reviews upon release, but will give you a short preview for now.

The entertaining "I'll See You in My Dreams" stars veteran Emmy and Tony-award winning actress Blythe Danner, who's a revelation in her first starring role and proves she's much more than Gwyneth Paltrow's mother. Directed and written by Brett Haley in his debut original feature, it's a bittersweet, often hilarious and charming, coming-of-age drama for the senior set that deals with some heavy themes while also having fun. In addition to the warm Danner who grounds the independent film so well (please cast her as the lead in many more after this), it has a remarkably talented cast for such a "small" film, including Martin Starr, Sam Elliott, Malin Akerman and especially memorable as her card-playing pals, Rhea Perlman, Mary Kay Place and Oscar-nominee June Squibb. Put this one on your list to see when it opens.

"5 Flights Up" is an enjoyable, well-acted yet somewhat exhausting dramedy starring two Oscar-winners, Diane Keaton and Morgan Freeman (who also co-produced) and based on Jill Ciment's novel, "Heroic Measures." It explores the semi-adventures of an older Brooklyn, New York married couple (Keaton and Freeman) who "test the waters" in possibly selling their now valuable 40-year old apartment and finding something new. This distinctly urban film directed by Richard Loncraine ("My One and Only") has some good moments, and the couple's backstory is compelling, though the script, particularly in the last act, has some coherency problems. Keaton and Freeman are solid as always, but the climax is frustratingly anti-climactic considering the plot.

The Longest Ride - C

Rated PG-13, 128 minutes
Wes's Grade: C

Handsome leads and Alda aside, the stale romance drama "The Longest Ride" sure feels like one

No matter how you spin the mildly compelling but woefully formulaic new romantic drama "The Longest Ride," you've taken a ride down this star-crossed trail of tears with Nicholas Sparks before: this is essentially "The Notebook," told cowboy-style. The movie tells the story of Luke (Scott Eastwood, Clint's doppleganger son), a former champion bull rider looking to make a comeback, and Sophia (Britt Robertson), a college student who is about to embark upon her dream job in New York City's art world. As conflicting paths and ideals test their relationship, Sophia and Luke make an unexpected and fateful connection with Ira (Alan Alda), whose memories of his own decades-long romance with his beloved wife deeply inspire the young couple. Directed by George Tillman, Jr. (of the "Barbershop" movies) and written by Craig Bolotin, based on Sparks' best-selling novel of the same name, the overlong, dull "The Longest Ride" has some touching moments and handsome leads, but is so calculated and sappy its title becomes a huge understatement (and a special note to the guys, the underlying message of the film is about making sacrifices for love-consider this one of them). Sparks has become to romance movies what Stephen King became to horror movies, and "The Longest Ride" bears the familiar Sparks formula: star-crossed, tragic lovers forced to tough decisions while looking pretty in the rain and/or dirt. Fortunately, this Sparks effort, in true "Notebook" style, is saved by the immensely charming Alda, and his backstory, featuring the lovely Oona Chaplin (Charlie's grandaughter) and "Boardwalk Empire's" Jack Huston, is much more interesting and well-acted than the stale contemporary story, which is given more screen time but still isn't all that fleshed out or interesting. Young, bland newcomers Robertson and especially Eastwood, who seems poised for stardom after this role, are easy on the eyes, likely making up for how boring and cliched their storyline is; and for the record, the movie's last contrivance (among many throughout the film), involving trusting some valuable artwork to this dopey pair, is simply ridiculous. "The Longest Ride" pulls absolutely no surprises and is mainly for Sparks' large fan base, who tend to know exactly what they're getting into. This time it just happens to be a lot of bull. 

While We're Young - B+

Ben Stiller and Naomi Watts

Rated R, 94 minutes 
Wes's Grade: B+

Honest "While We're Young" is a smart, fresh look at generation gaps

If you've ever been told to act your age, then then the organic yet entertaining new comedy "While We're Young" provides a fresh, well-acted exploration of age-appropriateness, generation gaps and ambitions. Ben Stiller and Naomi Watts are Josh and Cornelia, a childless and forties New York couple, a documentary filmmaker and his film producer wife. As their other friends are having children, Josh and Cornelia gravitates toward a young, charming hipster couple named Jamie (Adam Driver), who's an aspiring documentary filmmaker himself, and his lovely wife Darby (Amanda Seyfried). The couple feel some newfound energy with Jamie and Darby, though Josh soon discovers their new friends aren't as honest as they might seem. Directed and written by Noah Baumbach ("The Squid and the While"), "While We're Young" is an effusive, honest and well-acted dramedy that highlights our age gaps and knowing the time to really grow up (and more importantly, knowing when and if to have children), not to mention each group's motivations and approach to life and work; it's one of Baumbach's more original efforts as of late, with some great dialogue and terrific performances from all involved, especially from Stiller and "Girls" Driver, who nearly steals the movie as the charming hipster (fedoras and wing-tips with no socks) who's so disarming it hides the real prick underneath all his charm, though as Stiller's character says of him: he's not a bad person per se, he's just young. "While We're Young" also has a strong supporting cast, including veteran actor Charles Grodin (remember him from "Beethoven"?) in one of his funniest roles in years, not to mention singer Adam Horovitz, yes that Adam Horovitz of "Beastie Boys" fame, as Stiller's age appropriate best friend, and actor/real estate agent/reality star Ryan Serhant in one of the film's funniest sequences in which Josh attempts to get financing for his film. The movie rambles some near the end, and Seyfried's character is largely nonessential, but the smart "While We're Young" is still an enjoyable, relatable comedy that says some bad behavior can be pinned to age. One of Baumbach's stronger efforts of late, it's worth a look.

Coming Soon: USA Film Festival April 22-26 in Dallas TX

The 45th Annual USA Film Festival is in Dallas, Texas April 22-26 at the Angelika Dallas theater. Tickets go on sale April 8th.

Click here for more details:

http://www.usafilmfestival.com/

Cut Bank - C

Rated R, 93 minutes
Wes's Grade: C

"Cut Bank" has a great cast, but is a routine, unoriginal thriller

"Cut Bank" refers to a real-life, small Montana town that is the setting for this well-acted but derivative thriller that has a Coen brothers/"Fargo"-esque ring to it. Dwayne McLaren (Liam Hemsworth) dreams about escaping small town life in Cut Bank, Montana with his vivacious girlfriend Cassandra (Teresa Palmer). When Dwayne witnesses an awful crime involving a beloved postman (Bruce Dern), he tries to leverage a bad situation into a scheme to get rich quickly but he finds that fate and an unruly accomplice are working against him. Thrust into the middle of a police investigation spearheaded by the local sheriff (John Malkovich), everything goes from bad to worse. Directed by TV director Matt Shakman in his feature debut and written by Robert Patino, writer for the TV show "Sons of Anarchy," the crime drama "Cut Bank" (which was actually filmed in Canada and not the real-life small town it takes its title from) has a stellar ensemble cast and a nice, dark tone, but it otherwise goes through some routine, predictable paces. It's no small coincidence that several cast members, including Billy Bob Thornton, Malkovich and Michael Stuhlbarg, have Coen brothers or "Fargo" connections, with Thornton in the TV show version of the film, especially since this is essentially a less fun and unremarkable rip-off of that film. Speaking of which, "Cut Bank" could've used more of the Coen's dark humor, as well there's not a sympathetic character in the bunch, even Malkovich's pesky sheriff, and it's hard to buy into why things decide to turn violent in this small town after all these years, though Dern was fun as the cranky postman with some secrets (however, Stuhlbarg is miscast and Hemsworth too bland to carry the movie). The unoriginal "Cut Bank" is a second-rate, unremarkable thriller with a handful of decent moments, but it would've worked better on the small screen.

Furious 7 - B

Rated PG-13, 142 minutes
Wes's Grade: B

With its usual, outrageous stunts "Furious 7" is a solid yet bittersweet ride

Many thought the tragic death of actor Paul Walker would put a halt to the immensely popular "Fast and Furious" film franchise but after seeing the action-packed seventh installment, simply titled "Furious 7," you wouldn't know it. Featuring its trademark, over-the-top stunts and car chases, it's hardly anything new and while it's not the best entry in the series, it also won't disappoint its large base who are used to this type of cheesy excitement. After defeating Owen Shaw, Dominic Toretto (Vin Diesel), Brian O'Conner (Walker) and the rest of the crew return to their normal lives again as they had wanted. However, Owen's older brother, Deckard Shaw (Jason Statham, scowling), is after Dom and his crew, seeking revenge for his brother's death and putting the entire crew in danger once more. After learning of Han's death, the crew sets out to find the man who killed one of their own, before he finds them first. Directed by acclaimed horror film director James Wan (of another popular movie franchise, "Saw") and written by Chris Morgan, writer of the last few of the "Fast and Furious" films, "Furious 7" is an energetic, fun movie filled with some typical, outrageous stunts and preposterous set pieces that has made these films so popular, not to mention a bittersweet, much-talked about coda to Walker. Wan handles the action nicely, in what boils down to three main action set pieces: one in the mountains, one in Abu Dhabi and the final one in Los Angeles; unsurprisingly, everything in between is typically cheesy (including its ridiculous plotting), even for these films, and some of the gaps in filming after Walker's death seem to give it an uneven flow; on a slightly disappointing note, most of the later scenes, particularly the final one, show that stand-ins, including Walker's brothers, along with a minor dose of CGI, were used. As well, the film's mid-section in particular is problematic, with the whole Abu Dhabi section overlong and unnecessary yet still peppered with some breathtaking stunts. The mountain piece was my favorite of the three, but the final act does have a terrific fight between Diesel and Statham that is among "Furious 7's" more memorable parts. Speaking of which, for the first time, you'll likely need some tissues for a "Fast and Furious" film, as the fitting tribute to Walker, including some clips from other "F&F" films, is also a very emotional one, yet one that also allows this franchise to continue on without him. "Furious 7" isn't the best car on the "Fast and Furious" franchise lot, but it's still a decent ride, though it won't be the same without Walker.

DIFF is coming April 9-19, 2015

It's that time of year again! The Dallas International Film Festival is coming April 9-19 2015 in Dallas, Texas. More info here: http://diff2015.dallasfilm.org/. Hope to see you there!

Woman in Gold - B-

Helen Mirren and Ryan Reynolds

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

Mirren shines in the uneven but compelling true drama "Woman in Gold"

The compelling, slightly uneven new drama "Woman In Gold" is a well-acted, intriguing blend of art history and personal docudrama, with an heavy emphasis on the latter. Though it relies too heavily on flashbacks, the solid casting and the worthy story make "Gold" for satisfying viewing, lifting it above some its typically calculated, true-story plotting. Sixty years after she fled Vienna during World War II, an elderly Jewish woman, Maria Altmann (Helen Mirren), sets out to retrieve valuable family possessions seized by the Nazis, among them Klimt's famous painting 'Portrait of Adele Bloch-Bauer I', or known by some as "Woman in Gold." With her inexperienced yet energetic young lawyer Randy Schoenberg (Ryan Reynolds), she embarks upon a significant legal and personal battle that takes her back to her native Austria and the U.S. Supreme Court. Directed by "My Week With Marilyn's" Simon Curtis and written by British playwright Alexi Kaye Campbell, the entertaining, well-performed "Woman in Gold" works primarily due to another impeccable, poignant performance from Oscar-winner Mirren as the late Altmann (who died in 2011 a very wealthy woman), and even more remarkable, it works well with (or maybe in spite of) the teaming with Reynolds. Reynolds turns in another of his serviceably bland turn, who isn't necessarily miscast as much as it is baffling casting: why weren't there better actors available for the role (and he doesn't really look like the real Schoenberg, who was balding); he isn't terrible, his charming presence designed to add an odd-coupling levity to the proceedings, and it's these moments that tend to give it an uneven feel. As well, "Woman in Gold's" tends to plod along with an unnecessary reliance on flashbacks, detracting from the contemporary story; most memorable of these is a compelling turn from "Orphan Black's" Tatiana Maslany as a young Maria, who gives some heart and tenderness to a redundant backstory. Still, there are some moving, uplifting moments from the story (have tissues handy for that final, wrenching flashback when the young Maria must say goodbye to her folks) and the always sublime Mirren, whose shining confidence carries the movie on her back. "The Woman in Gold" is an above-average, well-acted true tale that would've worked even better with less flashback and more Mirren. If you want even more, check out a documentary on the same subject, titled "Adele's Wish."