Aloha - D

Bradley Cooper, Emma Stone and Rachel McAdams

Rated PG-13, 105 minutes

Crowe's dreadful, contrived rom com "Aloha" is one to skip

There are not one, but two disaster movies opening this weekend, the earthquake disaster "San Andreas" and then the unintentional romantic comedy disaster, "Aloha," filmed two years ago but delayed because, and no secrets by now, but it's not that good. In spite of a great cast and lovely scenery, this is a big disappointment and one of the year's least compelling, forced romantic comedies. Brian Gilcrest (Bradley Cooper) is a defense contractor who falls for Allison Ng (Emma Stone), an Air Force pilot, after he is assigned to oversee the launch of a weapons satellite from Hawaii, though he runs into some challenges when he finds an old flame (the always lovely Rachel McAdams who deserves better than this). Directed and written by Cameron Crowe, a talented director and writer who seemingly peaked awhile ago, "Aloha" is an unmitigated mess of a movie that rang so false and is so all over the place it gave me a headache. Native Hawaiians are understandably upset by its racial inequality, but movie goers should be the real ones upset by it all, as this badly written and directed movie wastes a talented cast with a tedious, baffling backstory about weapons and rockets; as well, one crucial plot point is so casually thrown away in the last act I wondered why Crowe even bothered with such a contrivance. Cooper and Stone's romance, which should've been the main focus of the movie, is secondary to all the unnecessary screentime devoted to the rockets and the McAdams character and her family, including a badly miscast John Krasinksi as her husband. Bill Murray, as an eccentric billionaire with ulterior motives, has a few good moments, but his time is too brief and even that feels like he's acting in another movie altogether. Besides Murray, the other few bright spots in "Aloha": Cooper and Stone (this plays to some of her more annoyingly hyper tendencies) are an appealing couple with little chemistry given their minimal screentime together, the handsome photography highlights the lovely Hawaiian scenery, and the unique, memorable score from alt-folk-rock group Jonsi & Alex brightens up the movie. In spite of all that, I still didn't buy into a moment of this, especially the pat, sentimental ending, and considering everyone involved, "Aloha" is a dreadful, unfortunate misfire for Crowe. For old times sake, rent "Jerry Maguire," which had you at hello, and say goodbye to "Aloha."

San Andreas - C-

Dwayne "The Rock" Johnson

Rated PG-13, 114 minutes

"San Andreas" is big, dumb and entertaining: lots of shakes, loads of cheese

I offer no spoilers (as if you need any) for the new disaster movie "San Andreas," but I can tell you the cause of this movie's earthquake, and it has nothing to do with tectonic plates, but rather the mountain of cheese that explodes over California, providing enough melted cheddar for your nachos and then some. Big, dumb and entertaining in a guilty-pleasure, big cheesy movie sorta way with its visuals clearly its most memorable aspect, "San Andreas" would've been a lot more fun if those in it didn't take it so darn seriously - in other words, it's never a good sign when you root for the earthquake. After a devastating earthquake hits California, a Los Angeles Fire Department rescue-helicopter pilot (Dwayne "The Rock" Johnson) and his ex-wife (Carla Gugino) attempt to leave Los Angeles and head to San Francisco to find and rescue their estranged daughter (Alexandra Daddario), though a noted scientist (Paul Giamatti) has warned everyone of another, stronger earthquake coming and impending doom. Directed by Brad Peyton ("Journey to the Center of the Earth 2") and written by "Lost's" Carlton Cuse, the big-budgeted disaster flick "San Andreas" is never dull, full of ridiculous, action-packed sequences and heavy doses of perfectly-scripted CGI with buildings that tumble just at the right second, fitting in perfectly with the summer crowd: if you like your shakes with a lot of cheese and exploding, crumbling and tumbling things, this is your movie. It may usher in a new series of disaster-movies that were popular in the 1970's ("The Towering Inferno" was my favorite), including the 1974 hit "Earthquake," which starred the 1970's version of The Rock, Charlton Heston and groundbreaking, Oscar-winning special effects. The 2015 version is much like that film, in that the earthquake itself is the real star of the show, with the bland, lackluster human drama, not to mention the preposterous science of it all, on much shakier ground. The Rock himself seems to be a good fit here, but he and Gugino, along with Giamatti (taking on the George Kennedy/Ernest Borgnine role), take it far, far too earnestly, gritting their teeth and spouting bad dialogue such as "it's going to rip California in half" and of course, one of the most overused lines in movie history, "don't quit on me!" I almost did, though, in one sequence involving riding a tsunami in a boat that was so ridiculous I turned to a friend during a recent screening, who was also laughing, and I said "really?" They may not be able to warn of earthquakes in real life, but I can cinematically forewarn you of your expectations: you'll get your money's worth in the mindlessly entertaining disaster flick "San Andreas" and won't remember much about it except for those crumbling buildings, toppling over with the weight of all that cheese.

Poltergeist - D

Sam Rockwell and Rosemarie DeWitt

Rated PG-13, 93 minutes
Wes's Grade: D

There's lots missing in the bland "Poltergeist" remake, including scares

The 1982 Steven Spielberg-produced horror classic "Poltergeist" was one of the first horror films to truly scare the heck out of me as a pre-teen, not to mention I remember the last 20 minutes throwing the movie theater in total disarray. The bland, bloodless remake of "Poltergeist" may instead put you to sleep; in spite of the influence from its producer, horror film legend Sam Raimi, this is really just a banal, non-scary cheesefest. Here, the classic tale is reimagined about the Bowen family (led by Sam Rockwell and Rosemarie DeWitt) whose suburban home is haunted by evil forces. When the terrifying apparitions escalate their attacks and hold the youngest daughter captive, the family must come together to rescue her before she disappears forever. Directed by Gil Kenan ("Monster House") and written by Pulitzer Prize winner David Linsday-Abaire ("Rabbit Hole"), the 2015 version of "Poltergeist" has a few nice touches and serviceable special effects, but is sorely lacking the scares and emotional connection the 1982 classic, directed by Tobe Hooper (of the original "The Texas Chainsaw Massacre"). The original slowly moved you into the action to establish the characters, this one plunges you literally feet first with the ghosts, without building a strong family bond and thus the effort to release the youngest daughter from the evil spirits lacks the chills and fun the original had (the clowns aren't even that scary here). What's also missing in this update is two things that made the first one so memorable: unique, diminutive character actress Zelda Rubenstein, also on the TV show "Picket Fences," who played the medium, and that muddy, unfinished swimming pool that made for such a terrifying climax, while here, we get stoic British character actor Jared Harris as TV-based medium, a big tree and a Mini Cooper that speeds away from the action. Rockwell is one of my favorite actors and gets in a few good lines, while DeWitt is a warm mother, but otherwise the cast doesn't seem to gel. When you remake such a scary classic as "Poltergeist" you run the risk of it possibly being better than the original or being truly awful. The reimagined "Poltergeist" doesn't run the risk of either, as it's just a middling, vapid effort with few scares to offer. Skip this and rent the original instead.

Tomorrowland - D+

George Clooney

Rated PG, 107 minutes
Wes's Grade: D+

Bland sci-fi epic "Tomorrowland" a joyless Disney misfire

Timbuk3's infectious 1980s pop song "The Future's So Bright I Gotta Wear Shades" seemed to define a generation bound for success. The opposite seems true in the joylessly vapid new science-fiction movie "Tomorrowland," a gloom-and-doom misfire lacking inspiration that probably seemed much more interesting on paper.  Bound by a shared purpose, former boy-genius Frank (Clooney), jaded by disillusionment, and Casey (Britt Robertson), an optimistic teen bursting with scientific curiosity, embark on a danger-filled mission to unearth the secrets of an enigmatic place somewhere in time and space known only as "Tomorrowland" that could forever alter destiny. Directed by Oscar-winner Brad Bird (of "The Incredibles" and "Ratatouille"), co-written by Bird and Damon Lindelof, "Tomorrowland" is a slick, big-budgeted Disney movie with stellar production values, an intriguing premise and decent special effects seriously hampered by a story that rings very false and manufactured. The film, about an exclusive futuristic society, must've looked and felt great in development, especially with the addition of Oscar-winner Clooney and a promising newcomer in Robertson ("The Longest Ride"), but it's a prime example of how a movie can go wrong in execution and post-production (plus, Disney is known for its meddling in things like this), as the end product is a doomsday-and-robots mess lacking any sense of excitement or wonder. "Tomorrowland" is also an example of how a movie is something completely different than what you get from its trailers, the sense of joy when you discover something new, and outside of its first 20 minutes, it's a muddled, mostly incoherent tale of saving us from a dark future. Not all is completely lost on "Tomorrowland": the first act is OK, the special effects are energetic, and there are a couple of talented young actors with a bright future - Raffey Cassidy, as the young machine Athena, and Thomas Robinson, as the young Frank - both of whom add some much-needed amusement and outshine the rest of the main cast.  Robertson is a pretty yet bland heroine too inexperienced to carry an big movie like this, villain Hugh Laurie is miscast, while Clooney, who is OK but lacking some of his usual charm, is mostly just a grump. After spending so much time on a gloomy future, its new-agey, let's-hold-hands-and-sing-Kumbaya style ending is a little baffling and seems so, well, Disney. Don't call me Nostradamus, but my prediction for "Tomorrowland" is it will be the first major box-office disappointment of the summer movie season (and probably not the last).

Every Secret Thing - C

Rated R, 93 minutes
Wes's Grade: C

Well-acted but tedious crime drama "Every Secret Thing" has trouble keeping interest

The well-acted but stale new crime drama "Every Secret Thing" is a disappointment, considering its stellar pedigree and those involved with the production. The slow-moving film has a few compelling moments and a breakout new actress but it feels a too much like "Gone Baby Gone." Detective Nancy Porter (Elizabeth Banks) is still haunted by her failure to save a missing baby. Eight years later, another child goes missing in the same town just days after Ronnie and Alice (Dakota Fanning and newcomer Danielle Macdonald), the two girls convicted of the earlier crime are released. Porter and her partner (Nate Park) race against time to stop another crime but unearth even more secrets from Alice's mother (Diane Lane) that has them questioning everything. Directed by Academy Award nominee Amy Berg (of the documentary "Deliver Us From Evil"), written by Nicole Holofcener ("Enough Said") based on Laura Lippman's novel of the same and produced by Oscar-winner Frances McDormand (in her feature producing debut), "Every Secret Thing" is modestly compelling with a strong female presence but is ultimately a downbeat, uneven movie that has trouble keeping its audience fully engaged, especially with some underwritten characters that have little to do (Fanning and Banks' characters in particular aren't well-drawn). The movie shows promise with an interesting premise, but is drearily slow in execution, especially that tedious second act which hampers the film's emotional impact, especially when some of its secrets finally come to light. "Every Secret Thing" works better as a character-driven drama than a whodunit, and on that note it benefits from a decent cast, with the movie's best performance coming from newcomer Macdonald, in a breakout, smart turn and the most memorable line: "no one ever believes the fat girl, especially you" she says when interrogated about the new crime. "Every Secret Thing," with the exception of Macdonald's affecting turn, is a bit of a letdown in the end and lacks mystery if you've been paying attention, or staying awake.

Slow West - B+

Michael Fassbender and Kodi Smit-McPhee

Rated R, 84 minutes
Wes's Grade: B+

Simmering "Slow West' is a refreshing look at the Old West

"Slow West" is a unique, satisfying Western about two men on a journey with different motives. Slow-moving, well-acted and handsomely shot, this isn't "Outlaw Josey Wales" Eastwood, it's more of the slow burn "Unforgiven" Eastwood. At the end of the nineteenth century, 16-year-old Jay Cavendish (Kodi Smit-McPhee) journeys across the American frontier in search of the woman he loves (Caren Pistorius). He is joined by Silas (Michael Fassbender), a mysterious traveler, and hotly pursued by an outlaw (Ben Mendelsohn) along the way. Directed and written by John Maclean in an auspicious debut as feature director and writer, "Slow West" is a simmering yet refreshing look that has a lot of elements: some amusing moments, some bloody moments, some tender moments, all of which capture the harshness of the old west, including the depressing ending full of blood and sadness. Most westerns tend to focus on the violence, without gaining a look at the humanity of what life was like then, which "Slow West" does so very well. The efficient film (only 84 minutes), is well-grounded by the strong performances of Fassbender and Smit-McPhee, who is especially memorable as the young man seeking the love of his life (and finally finds her, in the most unusual of ways, at the end of the movie), with lovely photography and score that add some nice texture and solace to the movie. On the downside, "Slow West" is a little slow and uneven, and the middle act in particular tends to lose its footing until the memorable, violent climax. Still, I was impressed with the fact that Maclean handles it astutely, even though I would've preferred a different ending. "Slow West," with its character-driven, slow-moving portrait of the Old West, may not be for everyone, but it's a subtle, entertaining look at love lost amidst the plains.

I Am Big Bird: The Caroll Spinney Story - B

Unrated, 90 minutes
Wes's Grade: B

"I Am Big Bird" a touching, fascinating drama about the man behind the suit

If you grew up watching the TV show "Sesame Street" as I did in the 1970s, you knew full well who Big Bird and Oscar the Grouch were, though until recently I hadn't seen the man who performed these characters. Caroll Spinney, has entertaining children for over 40 years yet at 81 years old, he has no intention of stopping. The touching, fascinating new documentary "I Am Big Bird: The Caroll Spinney Spinney Story" takes a look at Spinney's life and work at "Sesame Street. Co-directed by documentary filmmakers Dave LaMattina and Chad Walker and written by LaMattina, "I Am Big Bird" is engaging, and both powerful and often syrupy, especially recalling memories of Jim Henson and the early days "Sesame Street," though you better have plenty of tissues handy when they show the clip of Big Bird performing at Henson's funeral, one of the film's best scenes. There are plenty of interviews, all of whom have plenty of nice things to say about Spinney, including his second wife Debra, all of his children, Henson's daughter, his Big Bird stand-in and Frank Oz, among many others (including a host of old Sesame Street performers). It's also a fascinating behind-the-scenes look, especially when they show the operation of Big Bird's suit and they also mention an interesting fact: that Spinney (as Big Bird) was originally intended to go on the fateful Space Shuttle Challenger in 1986, though he couldn't fit and teacher Christa McAuliffe went in his place. It's also a nice dichotomy of sorts to know that the man behind such an uplifting character as Big Bird also voices his polar opposite, Oscar the Grouch (one of my favorite characters). "I Am Big Bird" does tend toward the touchy-feely, but it is inspiring to see Spinney in his old age continuing to work, without any intention of retiring.  As Big Bird himself would likely say, that just fine. Worth a look whether for "Sesame Street" fans or those who enjoy an entertaining behind-the-scenes story.

Good Kill - B

Ethan Hawke

Rated R, 100 minutes
Wes's Grade: B

Tense and well-acted "Good Kill" a satisfying psychological drama about making right choices

Some people are workaholics, bringing work home with them regularly. This can be prove to be problematic, especially if you're directly involved in the war on terror. The tense, well-acted new psychological action thriller "Good Kill" explores just that. While some of themes are hardly new, it's a satisfying look at the choices we make. The movie takes place in the shadowy world of drone warfare, where combat unfolds like a video game-only with real lives at stake. After six tours of duty, Air Force pilot Tom Egan (Ethan Hawke) yearns to get back fly again, he now fights the Taliban from an air-conditioned box in the Las Vegas desert. When he and his crew start taking orders directly from the CIA, and the stakes are raised, Egan's nerves-and his relationship with his wife ("Mad Men's" January Jones)-begin to unravel. Directed and written by Andrew Niccol, "Good Kill" is a timely and thought-provoking examination of having a good conscience, grounded by a superb performance from Ethan Hawke as the military man caught in some troubling circumstances. There are some solid action sequences, though much like the similiarly-themed "Zero Dark Thirty," it's all with a purpose, and it's one of those you could miss out on a lot if you miss just a few minutes. The last act is predictable and downbeat, and some may not enjoy the complexity of it all, but "Good Kill' is a satisfying, intense psychological and military drama, with good supporting turns from Zoe Kravitz (also seen in another thriller, "Mad Max: Fury Road") and prolific character actor Bruce Greenwood. Worth a look if you enjoy this type of thing.

Pitch Perfect 2 - B-

Anna Kendrick

Rated PG-13, 114 minutes
Wes's Grade: B-

Not as fun as the first film, the charming "Pitch Perfect 2" will still have you humming

I must admit that I'm a big fan of the 2012 A capella musical comedy "Pitch Perfect" because of its spunk and originality, and I knew it'd only be time before there was a sequel. The charming, aca-good "Pitch Perfect 2" hums its way into theaters this weekend, and while hitting a few nice comic notes, it's not as harmonious as the first film. Following an incident involving Fat Amy (Rebel Wilson, who's in need of her own Fat Amy movie) and a wardrobe malfunction at the Lincoln Center in front of the President of the United States, the Barden Bellas are suspended from the circuit of A Capella performing. In order to regain their status, the Bellas, led by Beca (Anna Kendrick) and Chloe (Brittany Snow) enter the international competition, a colossal task seeing as how no American team has ever won. Directed by "Pitch Perfect" co-star and actress Elizabeth Banks, who's back here providing questionable commentary with co-announcer John Michael Higgins, and written by "Pitch Perfect" scribe Kay Cannon, and based loosely from a book of the same name on a similar subject, "Pitch Perfect 2" is an enjoyable, predictable piece of fluff that will leave you with a big smile on your face, even if the first "Pitch Perfect" was a great deal more fun and original. Bringing back most of the cast from the first film along with a few new faces, it's certainly filled with energy and starts off well, with the three most memorable performances and sequences in the first act: the song "Lollipop" from the men's group The Treblemakers, led again by the charming but underused Skylar Astin, the cameo from Snoop Dogg and a terrific, hip-hop version of "Winter Wonderland/Here Comes Santa Claus" with Kendrick and a fun sing-off led by the amusing, slightly annoying comedian David Cross. Unfortunately, the second act drags and feels like filler with some unnecessary subplots and way too many characters, and the climax, while crowd-pleasing, is hardly surprising (and the Bellas are certainly good, though I'm unsure they're better than their immensely talented, German-based competition). Some of the immature potty humor that pushes its PG-13 rating should please the younger set, but other than that, if you enjoyed the first "Pitch Perfect" you'll still leave humming, just not as much as the first one.

I'll See You in My Dreams - B

Blythe Danner

Rated PG-13, 92 minutes
Wes's Grade: B

Lovely Danner is a great lead in the enjoyable dramedy "I'll See You in My Dreams"

"I'll See You in My Dreams" is a charming, well-acted coming-of-age dramedy that says that you're never too old to start something new. You'll also wonder why lovely, award-winning character actress Blythe Danner hasn't had more starring roles: this is her first one. After the death of her beloved dog, widow and former songstress Carol (Danner) finds the everyday activities have lost their luster. With the support of her loyal girlfriends and bridge buddies (June Squibb, Rhea Perlman, and Mary Kay Place), Carol decides to embrace life differently, embarking on an unlikely friendship with her pool boy (Martin Starr), pursuing a new love interest (Sam Elliott), and reconnecting with her daughter (Malin Akerman). Directed and written by Brett Haley in his feature film debut, it's an auspicious debut for a newbie, but it helps having a strong cast and a moving script, and the dramedy comes up a winner. Tony and Emmy-award winning actress proves that she's more than a stalwart supporting actress or Gwyneth Paltrow's mother (she certainly has her work cut out for her there, just saying), she ably grounds the film well, providing some memorable moments. Among them: the battling a mouse, and doing karaoke with "Knocked Up" actor Starr, whose deadpan delivery is well-paired with Danner's smooth touches to her role (they balance each other nicely), and of course some of the film's funniest scenes, with her age-appropriate pals in Squibb, Perlman and Place. "I'll See You in My Dreams" becomes more predictable in the third act when deep-voiced cowboy Elliot comes on the scene, and you have a sense of how it'll turn out from their first moments together. The enjoyable, warm "I'll See You in My Dreams" is ultimately nothing new, except for the fact that Danner, who we've loved for years, proves she is a very capable and likable lead actress, and here's hoping she gets more starring roles, she's deserving of them. Worth a look.

Mad Max: Fury Road - B+

Rated R, 120 minutes

Tom Hardy is Mad Max

Wes's Grade: B+

Dizzying, action-packed "Mad Max" isn't perfect, but is far from dull

The timing is right for a new Mad Max, given the last "Mad Max" movie was 30 years ago, and will fit perfectly into the crazy summer moviegoing schedule. Brought to you by the same team that originated the franchise in the late 1970s, the long-awaited, action-packed "Mad Max: Fury Road," which is technically a sequel and not a reboot, is dirty, bloody and breathlessly entertaining - if you enjoyed the first set of "Mad Max" movies ("Road Warrior" is my favorite of those) - you'll get a kick out of this dizzying and sometimes dazzling tale. In the post-apocalyptic 2060, Max (Tom Hardy), a former highway patrolman whose family was killed in the early days of the societal collapse, meets Furiosa (Charlize Theron), a woman attempting to cross an immense desert called The Wasteland to escape with the multiple wives of a brutal Fascist leader named Joe (Indian character actor Hugh Keays-Byrne who was in the original 1979 "Mad Max" version) along with his henchman the War Boys. Max, who also has been imprisoned and tortured by Joe, is Furiosa and the Wives' best chance of escaping. Directed and co-written by Oscar-winner George Miller (it's hard to believe this is the same guy that made the award-winning "Happy Feet"), "Fury Road" is an enjoyable, often exhilarating and wild ride that's far more accessible than the other "Mad Max" films and featuring some of the best stunts I've seen on film in a long time. With a dusty, orange glow, one of the most memorable cast members in "Fury Road" happens to be all those exceedingly souped-up vehicles and trucks, which get a good workout throughout the film, especially in the over-the-top yet sublime action set pieces that highlight the movie. Miller's story and one-dimensional characters are a little more problematic, with some muddled backstories and people that lack detail and tend to get lost amidst all the action, though some may be purposefully vague to set up future installments. The usually squirrily Hardy is a solid, if not moody and mellower Max than Mel Gibson's perfectly off-kilter Max, but it works fine with the dizzying amount of action and stunts that seem to take center stage, though Miller could've made this Max even tougher. Hardy's stoic Max is a nice balance to the tough, one-armed chick that is Theron, who makes for an even better action hero than Hardy and comes close to stealing the show. Keays-Byrne, whose villain is given less to do here, is still fun to watch, while the lithe Nicolas Hoult is a solid addition as Nux, a War Boy who becomes an important part of the Max-Furiosa team. "Mad Max: Fury Road" isn't perfect, but it sure isn't a dull ride and Miller has some nice touches (the guitar playing War Boy on the end of the truck is a favorite), with some terrific and stunning action and stunts that keep the movie going at a very fast pace until the end. This is the next summer blockbuster worth checking out.

Bravetown - D-

Rated R, 112 minutes

Josh Duhamel

Wes's Grade: D-

Silly teen drama "Bravetown" a forgettable mess of a movie

For a movie about being brave and courageous, the sloppy and by-the-numbers new drama "Bravetown" sure does lack it, not to mention any sense of surprise or inspiration. Josh Harvest ("X-Men's" Lucas Till), a hardened New York City teens is one of the country's top dance club DJs but is sentenced to counseling with a therapist (Josh Duhamel) for a minor drug infraction, along with an extended stay with his estranged father who lives in small town North Dakota. His stay there is uneventful until he finds purpose in helping the town's last-place dance team. "Bravetown," directed by Daniel Duran and written by Oscar Torres, is a lackluster misfire that is in need of better script, characters and direction to make it work. The well-worn troubled teen trying to find his place premise has been overused for years now, and while it starts out well, it loses its footing quickly "Bravetown" and never regains it.  As well, a film dealing with some "serious" issues such as drugs and mental problems needs better acting coupled with a coherent story. Till, a handsome young actor on the rise due to his role in the new "X Men" films, blandly grounds the film and should please the young girls seeing the movie, though the woefully miscast Duhamel, not exactly the strongest actor on the lot, provides little believability as his therapist and their awkward scenes together as Duhamel's character espouses some questionable pop psychology hurt the film even more. "Bravetown" is really just an unfortunate mess in execution with a clear identity problem: is it a hard-hitting drama, a dance film or even a patriotic movie to honor the troops (a theme that seems to have been misplaced in post-production due to the awful editing job here). Some may see value in this, but it sure wastes a decent supporting cast including Tom Everett Scott, Maria Bello and in a tiny, rather weird role late in the movie, recent Oscar-nominee Laura Dern, who seems to be acting in another movie altogether. The baffling climax, involving some strange, flag-waving, electronica dance piece designed to honor the troops, is truly misplaced. An even braver move would be just to skip the jumbled silliness that is unfortunately titled "Bravetown."

Ride - C

Rated R, 93 minutes

Brenton Thwaites and Helen Hunt

Wes's Grade: C

Surfing, self-discovery movie "Ride" predictably wipes out too often

The new coming-of-age comedy "Ride" is a modestly engaging yet predictable affair and treads some familiar ground. Hardly revelatory in execution, it feels like its laying groundwork for a TV series. A magazine (Oscar-winner Helen Hunt) follows her son ("The Giver's" handsome Brenton Thwaites) from New York to LA after he drops out of college to surf and find himself, she ends up being the one thrust into self-discovery, rediscovering her sexuality with a younger surf instructor (Luke Wilson), and trying to heal her fractured relationship with her son and herself. Directed and written Hunt in her feature debut, who's done better before, "Ride" is certainly a likable movie and the surfing scenes are good but the weak, well-worn story tends to wipe out on more than one occasion. Hunt, a skilled, award-winning actress, is a less-skilled director with a penchant for giving herself the most footage and the best scenes. On that note, it's part comedy and part vanity project, and while there are some fun moments (and helpful ones if you plan on going into surfing), the human aspect of it seems to ring false, especially when Hunt herself gets in the water. There are some obvious metaphors here about getting back in the water, rediscovering your sexuality (does it always have to be with someone younger?) and mending relationships, all of which "Ride" tends to take a little too seriously. Hunt and Thwaites are good though their arguments become grating, though character actor David Zayas, from TV shows such as "Dexter" and "Oz," steals some scenes as a long-suffering limo driver who encounters this annoying mother-son pair. Hunt is a beautiful, talented actress, but she can do better than this familiar rediscovering-yourself-through-surfing movie.

Maggie - B

Rated PG-13, 95 minutes
Wes's Grade: B

The affecting, character-driven zombie flick "Maggie" also has a great turn by Schwarzenegger

An affecting zombie flick starring Arnold Schwarzenegger? Yes, you read that right, which is the premise of the dark, well-acted drama about a man who is caring for his daughter who is slowly turning into a zombie. A teenage girl named Maggie (Abigail Breslin) in the Midwest becomes infected by an outbreak of a disease that slowly turns the infected into cannibalistic zombies. During her transformation, her loving father (Schwarzenegger) stays by her side. Directed by Henry Hobson and written by John Scott III, "Maggie" is a moving zombie movie that relies less on blood and gore and more on the father-daughter relationship. What's most surprising about the very low-budget movie is Schwarzenegger low-key, even nuanced turn as the father who must agonize over his daughter's turn into a different creature. What's more, dark and dystopian films with creatures isn't anything new for Schwarzenegger, but what is new is the fact the movie isn't weighed down by a bevy of makeup, special effects and one-lines that he's used to (that will likely change with the next "Terminator" film he's in), just a tender family relationship. Breslin, who's matured into a serviceable actress since her "Little Miss Sunshine" days, is also strong as the titular character morphing into something she's so unsure about, as is Joely Richardson as Maggie's sensitive mother. Maggie and her Dad have some nice exchanges, including their final one as human father-daughter. The satisfying, affecting "Maggie" is much slower, less violent and action-packed and more character-driven than other films in this genre, which may or may not please those enjoy zombie flicks, but it sure is worth a look for a very different and unusual Schwarzenegger role.

Welcome to Me - B

Rated R, 87 minutes
Wes's Grade: B

The odd, dark comedy "Welcome to Me" proves people with money can do weird things

People with money can sure strange things. Maybe people with money are just strange. That's premise of the odd and quirky dark comedy "Welcome to Me," which says that maybe some people don't deserve to be famous. A woman named Alice Klieg (Kristen Wiig) with borderline personality disorder wins the lottery and decides to spend the cash on her own cable access talk show, where her larger-than-life personality and obsession with being famous begins to alienate her friends and family. Directed by Shira Piven (Jeremy Piven's sister) and written by Eliot Laurence, "Welcome to Me" is an often dark, strange comedy filled with some fun moments and superbly acted by "Saturday Night Live" vet and "Bridesmaids" star Kristen Wiig, who shines as the unstable Alice, whose obsession to be famous drives those around her crazy. She is supported by a strong cast, including Wes Bentley, Jennifer Jason Leigh, James Marsden, Tim Robbins (whose brother scores the movie),  Linda Cardellini and as her long-suffering producer, Joan Cusack, who must endure all of Alice's shenanigans. Given that Alice's weird, problem-filled life itself is filled with many pensive moments, the movie works better as a straight comedy, and is most memorable for the hilarious different shows Alice puts on that are supposedly based on her life, many of which could've been (and might've been at some point) "SNL" sketches over the years, including "Alice vs. Mom," "Someone Took My Handbag,"  not to mention assorted cooking shows, one interesting show in which she operates on a dog on camera, and her final show, "The Legend of a Swan: The Telethon for Change." Ultimately, there isn't much to the premise (though Wiig is completely naked in one scene) and is really just a weird, rich girl (Lady Gaga anyone?), but Wiig's amusing turn makes "Welcome to Me" worthwhile for some weird and wonderful moments.

5 Flights Up - C

Rated PG-13, 92 minutes
Wes's Grade: C

Thinly amusing dramedy "5 Flights Up" has a great offer but still disappoints

If you've ever had to sell your home and buy a new place, it can be quite an adventure (just getting financed these days can be challenging), and the well-acted but thin, somewhat joyless dramedy "5 Flights Up" explores just that. Forty years ago, artist Alex (Morgan Freeman) bought a run-down apartment in a sketchy part of Brooklyn with his wife, schoolteacher Ruth (Diane Keaton). Today, their neighborhood is now very hip and their apartment worth a small fortune. Well-cast and mildly amusing, "5 Flights Up" makes an initial great offer but has a disappointing follow-through. Directed by Richard Loncraine ("My One and Only") and written by Charlie Peters, based on the novel "Heroic Measures" by Jill Ciment, it certainly has a pedigreed director and two Oscar-winning actors in the lead roles, who do their best with the rambling script that relies heavily on flashbacks in telling the couple's backstory. As good as actors as Freeman and Keaton are, they aren't as believeable or interesting as their younger selves, played by Claire van der Boom and Korey Peters, and the present day is filled with too many minor characters who are distractions, though Cynthia Nixon has some fun as their real-estate agent niece, who'll do almost anything to get their apartment sold at a great price. You can certainly sense her character's frustration with the older pair in the unsatisfying climax, which has them doing very little in terms of making any real changes, which makes you wonder they the film spent so much time with them in the first place. "5 Flights Up" has some great things to offer, a great cast, a lovable pooch who steals scenes from two Oscar-winners (and whose subplot takes up a great deal of this movie), but ultimately the deal falls through. A disappointment considering the cast.

Far From the Madding Crowd - B

Carey Mulligan is "Far from the Madding Crowd"

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

"Far from the Madding Crowd" an enriching tale of multiple-choice romance

The well-acted, beguiling new version of the Thomas Hardy classic romance novel "Far from the Madding Crowd" (not maddening as some to interpret it to be) proves that love can be difficult even for strong, intelligent and very capable women; its themes are hardly new, but it's a worthy period piece/costume drama entry that may remind some of a Merchant-Ivory production or Jane Austen. The movie tells the story of independent, beautiful and headstrong Bathsheba Everdene (Carey Mulligan), who attracts three very different suitors: Gabriel Oak (Matthias Schoenaerts), a quiet, hardworking sheep farmer, Frank Troy (Tom Sturridge), a handsome and reckless Sergeant; and William Boldwood (Michael Sheen), a prosperous and mature yet somewhat desperate bachelor, not to mention the hardships caused by having several suitors. Directed by "The Hunt's" Thomas Vinterburg and written by David Nicholls, this handsome and enriching version of Hardy's "Far from the Madding Crowd," while hardly surprising, is more entertaining than you might think, thanks to a superb turn by Oscar-nominee Mulligan treading Keira Knightley's corset territory, and though it's much too early to be saying something like this, I could easily see her garnering some accolades for the role, as she brings strength and humanity to a role also played by Oscar-winner Julie Christie in the 1967 version (and though Christie did a great job in the role, I see the character with dark hair rather than a blonde, making a huge difference). Bathsheba is smart enough run a large farm, but she still falters when it comes love, though that has to do with all the conflicting choices she has to make along the way. All the men do a great job here too, though the most memorable is French actor Schoenarts ("Rust and Bone"), whose understated turn here gives value to the unspoken love between Bathsheba and Gabriel. In addition to "Madding's" moving performances, the movie's sleek production values give it a good feel, including the score from acclaimed composer Craig Armstrong ("Moulin Rouge") and the lovely cinematography from Charlotte Bruus Christensen. The last, soapy act seems much more pensive and rushed than the rest of the movie, and while its ending seems pat, this is in fact faithful to Hardy's novel in that respect. The satisfying, affecting "Far from the Madding Crowd" is a familiar movie with familiar themes of multiple choices, and you're always wise to go with your first choice; had Bathsheba Everdene done that the movie would've been over in about 10 minutes.

Hot Pursuit - C-

Sofia Vergara and Reese Witherspoon

Rated PG-13, 87 minutes
Wes's Grade: C-

Mildly amusing "Hot Pursuit" a tepid, well-worn female buddy comedy

"Hot Pursuit" is a middling, mildly amusing female buddy comedy that barely gets by because of its appealing leads, who seem to be having a good time. An uptight and by-the-book cop (Reese Witherspoon) tries to protect the sexy and outgoing widow (Sofia Vergara) of a drug boss as they race through Texas, pursued by crooked cops and murderous gunmen. Directed by "Step Up's" Anne Fletcher, "Hot Pursuit" is a disposable, well-worn comedy lacking passion last appeared in much better form in the Bullock-McCarthy 2013 comedy "The Heat." Unsurprisingly, it plays to annoying stereotypes (policewomen, drugs and Mexicans all take the hit here) and predictable plot twists, and despite the fact the leads try to make it work, much of it falls flat under a weak script. Both actresses have done much better before, though this TV-esque, odd-couple premise seems more of a fit for the lovely Vergara, who became a big star with her unsubtle Latina sexpot act, which works fine in a supporting part in a hit TV show like "Modern Family" but is stretched to thinly annoying levels in a 90 minute movie (this is another variation of that character, amped up about 20 times) while Witherspoon seems uncomfortable in all-out comedy mode, especially after the heavy drama "Wild" last year, not to mention her character is so gratingly uptight you have little sympathy for her. A misfire for sure, "Hot Pursuit" does have a few genuinely funny more toned-down moments, including one in a deer costume with two immensely charming leads who try to make it work, but it lacks the zany passion to make it truly memorable. Instead, these two annoying characters traipse across Texas in a rather tepid tale, though if you make it until the credits, you'll see the funniest part of the movie: the blooper reel, which feels so "Smokey and the Bandit." Considering the talent involved, who'll likely sell a few tickets its first weekend, "Hot Pursuit" is a lukewarm comedic disappointment.

The D Train - B-

Rated R, 97 minutes
Wes's Grade: B-

"The D Train" a well-acted, compelling dramedy about hanging with the cool kids

High school reunions have never been my thing, and on the surface the well-acted, spry dramedy "The D Train" seems to be all about that, though it also speaks to much more, about growing up, honesty and the complexities of friendships. All his life, Dan Landsman (Jack Black) has never been the cool guy. That's about to change - if he can convince Oliver Lawless (James Marsden), the most popular guy from his high school who's now a modestly successful actor, to show up with him to their class reunion. A man on a mission, Dan travels to LA and spins a web of lies to recruit Lawless but he gets more than he bargains for as the unpredictable Lawless takes over his home, career, and entire life. Directed and written by Jarrad Paul and Andrew Mogel in their feature film debut, "The D Train" is an affecting though flawed dramedy with a few unexpected twists along the way (such as a bisexual subplot), eventually becoming a much different film than you might think, which might be a slightly darker, revisionist version of a John Hughes high school film. "The D Train" is most highlighted by the remarkably warm chemistry from the leads and their strong performances, especially from Marsden, in a subdued role that's different from his usual pretty-boy roles. Paul and Mogel are serviceable directors, though an unfocused, awkward second act does hurt the film somewhat, and works best when it explores our tendency as adults to still want to try to hang with the cool kids (and doing literally anything to be cool), with some amusing individual moments, such as when Marsden's Oliver has the whole sex talk with Dan's awkward teenage son, or they strike a fake business deal with Dan's clueless boss (the always fun Jeffrey Tambor). "The D Train" is satisfying and compelling in its own imperfect way, and isn't as cool as you'd like it to be, but then maybe that is the point. Worth it for the strong performances from Marsden and Black.

Adult Beginners - C+

Nick Kroll

Rated R, 93 minutes
Wes's Grade: C+

If not for the charming Kroll, "Adult Beginners" would have to start over

"Adult Beginners" is a modestly charming but unoriginal new comedy you've seen many times before: one of those predictably fun starting over-coming-of-age-growing-up things made better by its talented lead actor. Young hipster tech entrepreneur Jake ("The Kroll's Show" Nick Kroll) crashes and burns on the eve of his company's big launch. With his entire life in disarray, Jake leaves the city and moves in with his estranged pregnant sister (Rose Byrne), brother-in-law (Emmy-winner Bobby Cannavale) and three year-old nephew in the suburbs - only to become their manny. Faced with real responsibility, he may finally have to grow up - but not without some bad behavior first. Directed by Ross Katz ("Taking Chances" and producer of "Lost in Translation") with a story from the always fun and amusing Kroll, who's been kicking around for years and finally gets his shot at a lead role. Comedian Kroll's sarcastic, deadpan delivery is the film's highlight that lifts the unmemorable, tired plotting that seems so pervasive (there are a few chuckles from the pool scenes), you have a sense of what will happen with Jake before you do. Byrne and Cannavale have a few good moments as Jake's estranged family, who clearly have more issues than he does, while "30 Rock's" Jane Krakowski and "Community's" Joel McHale add some amusement in tiny roles. With all the TV actors hanging around, this minor-league production feels like it should be on the small screen, and could've easily been the pilot for a new Showtime or Netflix series. The serviceable "Adult Beginners," with the engaging Kroll leading the way, is good for a laugh or two, though you won't remember much after its over.

Avengers: Age of Ultron - B

Rated PG-13, 141 minutes

Wes's Grade: B

"Avengers: Age of Ultron": a busy, overlong but entertaining spectacle

Well, it's official. The summer-movie going season is now upon us in rollicking, entertaining fashion with the new Marvel Comics action movie "Avengers: Age of Ultron" and if anything, if gives us indication that it will be a busy one. The oversized bigger-is-better movie has more of everything you want: superheroes, action, bad robots and more action and it's an enjoyable, if not overlong, busy spectacle for sure. When Tony Stark (Robert Downey Jr.) jumpstarts a dormant peacekeeping program, things go awry and Earth's Mightiest Heroes, including Iron Man (Downey), Captain America (Chris Evans), Thor (Chris Hemsworth), The Incredible Hulk (Mark Ruffalo), Black Widow (Scarlett Johansson) and Hawkeye (Jeremy Renner), among some others, are put to the ultimate test as they battle to save the planet from destruction at the hands of the villainous Ultron (slimy and perfectly voiced by "The Blacklist's" James Spader). Directed and written by Joss Whedon, who helped bring the first "Avengers" film to life, "The Age of Ultron" lacks the kick-booty edge and accessibility of the first film, and it gets bogged down by a busy, often muddled storyline with little continuity from the other individual movies that many of these characters have had, but the action sequences along with the terrific casting of the hypnotically-voiced Spader help carry the film along nicely through its slower-paced segments. "Avengers: Age of Ultron" will be remembered as the weaker film in the series, unsurprising given that this has happened with some of the other Marvel films, including "Iron Man" and "Thor," though the second "Captain America" installment last summer was better than the first in that series. It has a penchant of wanting to please everyone, stuffing it with some unnecessary characters, including Quicksilver (Aaron Taylor-Johnson), the Scarlet Witch (Elizabeth Olsen) and JARVIS (Paul Bettany), none of whom really make a huge impact, plus there other unnecessary backstories that seems like padding (sorry, I just don't care about Hawkeye's family, just saying) or aren't that fleshed out. Downey's "Iron Man" is still my favorite and coolest of the Avengers, and his cheeky responses to just about anything still make me chuckle ("have you been juicing, you look puffy," he says to Ultron) and his sequence with the Hulk mid-film was a standout. The premise of "Avengers: Age of Ultron" is about evolving into a new age, which is ironic given that this "Avengers" doesn't evolve much and pulls few surprises; the action sequences and special effects are clearly the most memorable as it moves quickly through its overlong 141-minute running time, but Whedon could learn from this by trimming a few things next go-around. Don't forget the end-credits scene featuring another supervillain that will especially please the fan boy set.