The Overnight - B

Rated R, 80 minutes

"The Overnight" is not your typical sex comedy, but then is ever a "typical" sex comedy? To the point, off-kilter and a little raunchy, it's not for everyone but is a unique, amusing look at thirtysomething sexual frustration and relationships. In an attempt to acclimate to Los Angeles, a young couple new to the area (Adam Scott and Taylor Schilling) spend an increasingly bizarre evening with the parents (Jason Schwartzman and Judith Godreche) of their son's new friend. Directed and written by first-timer Patrick Brice in his feature film debut as director and writer, "The Overnight" is a sly, unusual sexual exploration with some hiliariously bizarre moments. For the record, it features full-frontal male nudity, albeit with some, uhm, special enhanced features to make its point (you'll understand fully if you fully see it), in a quirky battle of dueling penises. Scott and Schwartzman are up to this challenge - sorry I couldn't resist that pun - though the women have some interesting moments, especially with one particular video. "The Overnight" is fun enough, even if it's really just a surface look at sex and relationships, as Brice could've certainly explored the complexity of some of the questions it raises, mainly the fact there is a big difference between desire and actually going through with that desire, not to mention the fact that sex does in fact change the nature of even surface friendships. While it never reaches its full potential, "The Overnight" is entertaining and peppered with some oddly hilarious moments throughout its quick running time (I guess you could say this is much like a quickie), and the shot of those dueling appendages, as fake as they are, may not soon leave your head.

Ted 2 - C

Rated R, 115 minutes

I will fully admit that Seth MacFarlane's 2012 crude yet likable comedy "Ted," about a foul-mouthed talking teddy bear, was an amusing guilty pleasure, but much like the early days of his animated show "Family Guy" the one-joke premise of "Ted 2" has little place to go or grow. Peppered with a few low-brow laughs, this time is far less original and fun than the first time out. Newlywed couple Ted (Seth MacFarlane) and Tami-Lynn (Jessica Barth) want to have a baby, but Ted's claimed as property and as a result, he loses his job and his life crumbles. In order to remain married and qualify as a parent, Ted must prove he's a person in a court of law, so he and John (Mark Wahlberg) set out to find a lawyer to sue for Ted's civil rights and they settle on an amateur lawyer named Samantha Leslie Jackson (Amanda Seyfried). The mildly entertaining yet crass and thin "Ted 2" is directed and co-written by MacFarlane and a couple of his "Family Guy" producers and writers, Alec Sulkin and Wellesley Wild, which is maybe why it feels very familiar: like a naughty, live-action extension of that show that tends to squeeze all it can out of a couple of jokes - instead of Peter and Brian the dog, here it's John and Ted the bear. The thin, predictable premise, in which Ted must prove he is more than property, could've easily been resolved in a 30-minute "FG" episode, but it's stretched out with some annoying hit-and-miss mischief, some of which work - the Comic Con section in the last act provided a few (thanks Darth Vader) - while others don't - an ongoing, profane gag involving the results of any internet search that can't be repeated here, which is less funny each time MacFarlane shows it. In spite of MacFarlane's penchant and over reliance on stale pot and pop-culture jokes, most of which a young audience won't get anyway, he can be charming and likable, especially with a jazzy opening dance number or an original song, like the uncharacteristically sweet "Mean 'Ol Moon" that Seyfried sings mid-film, both courtesy of "Family Guy" composer Walter Murphy. "Ted 2" goes on way too long and suffers mostly from MacFarlane's lazy direction and storytelling, not to mention the very awkward Morgan Freeman cameo (as well as the Liam Neeson one) is just badly handled, while Wahlberg himself seems a little disinterested this time, but he's still a decent Peter Griffin-esque foil for the pot-smoking, cussing teddy bear who tends to upstage him. If you liked the first one, you'll enjoy this one too, just not as much.
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Max - B-

Rated PG, 111 minutes

Animals, kids and senior citizens. They all have a way of tugging at the heart strings, and the sentimental new family film "Max," about a military dog, is no different in the way it predictably manipulates its audience. Military working dog Max, a Belgian Malinois, returns from service in Afghanistan, traumatized by his handler's (Robbie Amell) death. He's adopted by the fallen Marine's family (Josh Wiggins, Thomas Haden Church and Lauren Graham), and they help each other heal from their loss, though not without some troubles of their own. Directed and co-written by Boaz Yakin ("Remember the Titans," "Safe"), "Max" is an uplifting yet calculated family film that for the love of Benji, is nothing new in terms of family films, but it shows some genuine heart and courage. Of course, the real star is Max himself, a Belgian Malinois (a form of a Belgian Shepherd) who will grab your heart quicker than you can say treat, and the story pulls absolutely no bones as it develops the story of Max and his new owner Justin as they build trust and soon discover his late brother's comrade Tyler (Luke Kleintank of "The Young and Restless" and "Gossip Girl" fame) is not who he says he is. Other than Max, Justin's pals, newcomer Mia Xitali and TV actor Dejon LaQuake get most of the best lines in as they help him with Max and fight the bad guys yet it's our canine friend is the one who saves the day, and this film should have no trouble pleasing the young set it's intended for. For what it is, "Max" goes on too long with its faux rah-rah patriotism over the end credits is a little insincere, but it's still a suitable, entertaining live-action family film and a pleasant, though hardly surprising, summer addition to the cineplexes.

Me and Earl and the Dying Girl - B

Rated PG-13, 104 minutes

The satisfying "Me and Earl and the Dying Girl" is one of those unconventional friendship movies that wears its quirkiness on its sleeve as a badge of honor. It's a minor annoyance given that underneath all the hipster clothes and off-the-wall actions, that it's a touching, well-acted tale of true friendship. The movie tells the story of Greg Gaines (Dallasite Thomas Mann of "Beautiful Creatures"), an awkward high school senior whose mom forces him to spend time with Rachel - a girl in his class ("The Quiet Ones'" Olivia Cooke) with whom he hasn't spoken to since kindergarten - who was just diagnosed with cancer, and along with Greg's friend Earl (newcomer Ronald Clyler II) the three form an unique, unforgettable bond. The charming "Me and Earl and the Dying Girl," directed by Alfonso Gomez-Rejon ("The Town that Dreaded Sundown")and written by Jesse Andrews and based on his young adult novel of the same name, it's hardly anything new with all its quirky themes, but it's an emotionally insightful look at relationships that you will have trouble disliking. A fan favorite at this year's Sundance Film Festival (it won the audience award), it's easy to see how a film about death and dying could also be so likable and at times, amusing, given how it reminds you of other films or filmmakers you may have enjoyed: think a spunkier cross between "The Fault in Our Stars" and "The Perks of Being a Wildflower" mixed with some Wes Anderson (in particular some of the stop motion scenes incorporated into the movie). "Me and Earl" works best when Gomez-Rejon reigns in the quirks and focuses on the story and character; however, there are some admittedly clever pieces to it , including the home movies Greg and Earl make, and especially their movie posters, which are genuinely funny. The three young stars and their breakout turns are all solid, with Clyler (in his debut film) getting in some of the better lines, while lovely British actress Cooke reminds of Emma Watson and Mann a less goofy Michael Cera. The final act is predictably touching and you should bring tissues, after all this is a movie with a dying girl, and the familiar, entertaining "Me and Earl and the Dying Girl," though not exactly a chick flick per se, will likely appeal more to the younger female set.

Inside Out - B+

Rated PG, 102 minutes

If you ever wonder what the voices in your head are like, the colorful and imaginatively clever new Pixar animated movie "Inside Out" gives insight into that. The 15th entry in the Pixar filmography is one of its most unique and original, though adults will unsurprisingly benefit the most from its humor. Eleven-year-old Riley (newcomer Kaitlyn Dias) and her family have just moved to San Francisco as her Dad starts a new job. She is guided by her emotions - Joy (Amy Poehler), Fear (Bill Hader), Anger (Lewis Black), Disgust (Mindy Kaling) and Sadness (Phyllis Smith) in Headquarters, the control center inside Riley's mind, where they help advise her through everyday life. Although Joy, Riley's main and most important emotion, tries to keep things positive, the emotions conflict on how best to navigate her new life in San Francisco. Directed and co-written by Oscar-winner Pete Docter, responsible for Pixar classics "Monsters, Inc." and "Up,"  "Inside Out" is an inventive, whimsically fun look at the havoc that is known as the human mind, though Docter's own "Up" is still the superior and more affecting film. The plotting is a little thin and some ideas are remarkably heady for an animated film directed at kids, and while they may not fully understand such concepts as deja vu, abstract, bittersweet or subconscious at this point, they're bound to have fun, given the energetic voice cast provide the film's more touching moments, especially from Poehler and Smith, who make for a stellar happy/sad team. Character actor Richard Kind also has some nice moments as Riley's forgotten imaginary friend Bing Bong, who helps Joy and Sadness save the day, even at his own expense. The satisfying "Inside Out" will rank as one of Pixar's more original, and cuter efforts, with less laugh-out moments (the best moments come during the end credits as they bounce from one mind to another) but still enough whimsy to keep kids and adults alike engaged. You will also lava the amusing Hawaiian-infused volcano animated short film "Lava" that precedes the main feature. While "Up" is still better, "Inside Out" is worth the wait considering it's been two years since any Pixar film and three since an original Pixar film.

Dope - B

Rated R, 115 minutes

The opening of the engaging new coming-of-age urban comedy and Sundance audience favorite "Dope" provides three essential definitions: drugs, dumbness and greatness. The hilarious, original "Dope" mines all three in a unique mixture of "Boyz in the Hood" and "The Breakfast Club" with a splash of last year's "Dear White People," all while standing on its own merits. High-school senior and geek Malcolm (Shameik Moore) and his friends Jib (Tony Revolori) and Diggy (Kiersey Clemons) bond over '90s hip-hop culture, their studies, playing music in their own punk band in inner-city Los Angeles, and surviving the harassment for being, well, geeks. A chance encounter with a drug dealer named Dom lands Malcolm and company at the dealer's nightclub birthday party; when the scene turns violent, they flee -- with some drugs that Dom secretly hid in Malcolm's backpack. A wild adventure ensues as the youths try to evade armed thugs who want the stash. Directed and written by Rick Famuyiwa ("Brown Sugar"), "Dope" is an eclectic and energetic mix of how the wrong thing can transform the right people from geek to dope, and is most memorable for its breakout performances from its mostly unknown cast. The three engaging leads are the standouts, including rapper Moore in his feature film debut, breakout turn as Malcolm; Moore's sincere, smart turn reminds of a young Derek Luke or Cuba Gooding Jr., and greater things could be expected from him and one of the best debut performances seen in sometime. Clemons, of the TV show "Transparent" and Revolori of "The Grand Budapest Hotel," also deliver strong turns as his loyal friends and partners in crime. "Dope" works best as a comedy, and the sharpest ones are also the lighter ones (including one extended conversation about the use of a certain word); for what it is, it goes on too long, navigating through some uneven patches and unnecessary characters, some of which aren't ironed out fully by Famuyiwa's script. Still, even with its imperfections, "Dope's" unique energy proves that it's still OK to be uncool in your coming-of-age, as long as you make it worthwhile, and do it to some cool 90s hip hop (the peppy soundtrack, featuring tunes from Nas and Public Enemy, was assembled by Pharrell Williams, who cameos in the movie). As a side note, the film is permitting moviegoers to purchase "Dope" tickets with bitcoin, which is a prominent plot point in the film.

Heaven Knows What - B

Rated R, 94 minutes

Dark, captivating drama "Heaven Knows What" a powerful look at addiction and romance

Nothing like a romantic drama about homeless heroin junkies to lift your spirits. The mesmerizing, dark and superbly-acted new independent drama "Heaven Knows What" is the anti rom-com,which may work just fine. The captivating movie from the Safdie brothers and inspired from real events won't appeal to everyone, but it doesn't try to be.  Harley (Arielle Holmes) loves Ilya (Native Dallasite Caleb Landry-Jones of the new "X-Men" movies). He gives her life purpose and sets her passion ablaze. So, when he asks her to prove her love by slitting her wrists, she obliges with only mild hesitation, perhaps because her other all-consuming love: heroin. This sets in motion a trajectory of events and an unusual love triangle that involves her charming drug dealer, Mike (real life street kid Buddy Duress). Directed by the acclaimed directing duo of Josh and Benny Safdie, native New Yorkers and directors of such Independent Spirit and Gotham award winners as "Daddy Longlegs" and "The Black Balloon," "Heaven Knows What" is a gritty but rewarding and stylistic look at the very dark side of homeless addiction, and one you won't soon forget. Difficult and exhausting to watch, "Heaven Knows What" is based on newcomer Holmes (who makes her film debut here) life on the streets, as detailed in her forthcoming autobiography, "Mad Love in New York City." Most memorable are the natural, powerful performances from the three leads, and the loose, documentary-style photography from Sean Price Williams, whose visual style adds an unique vibe to the movie, without it, the film wouldn't have has as near as much impact. Holmes reminds of a cross-between a young Brittany Murphy and Aubrey Plaza in an auspicious and memorable debut; likewise, Landry-Jones casts a dark spell as Ilya (the real Ilya, the inspiration for the role, just passed away and the film is dedicated to him) while real-life street kid Duress (also in his feature debut) gives the movie's most charismatic turn as the drug dealer who finds he really cares about Harley. "Heaven Knows What" is perhaps too loose and too dark at times, and the obvious tragedy of it all has a familiar Shakespearean ring to it, especially in the final act. However, some of its images cast a powerful (and not always pretty) look at love, capturing some of the unique drug culture on the streets. It's not for everyone and has anything but mainstream appeal, but some of the images will stay with you long after you leave the theater.

Jurassic World - B-

Chris Pratt

Rated PG-13, 123 minutes

Action-packed yet dumb, "Jurassic World" still entertains

Somewhere between parts 2 and 3, but still not as good as the original. The action-packed but silly "Jurassic World" is the long and eagerly awaited new installment in the "Jurassic Park" series, and while it isn't dull visually, it eventually becomes what the original 1993 film tried not to be, and that is a dumb monster movie. Taking place twenty-two years after the events in the original film, there is now a fully functioning dinosaur theme park off the coast of Costa Rica, with a staff that includes Owen (Chris Pratt), a trainer of the Velociraptors (or as I call them, mini-dinos) and the park's operations manager Claire (Bryce Dallas Howard). However, the park's deadliest creature, a genetically created dinosaur known as Indominus Rex, or basically a T-Rex on steroids, gets loose and creating mayhem, and it's up to Owen and Claire to help stop the deadly creature from creating an outright disaster. Directed and co-written by Colin Trevorrow of "Safety Not Guaranteed" fame, the enjoyably bland "Jurassic World," which is a direct sequel to the 1993 film and ignoring its two sequels, should easily find its place among this summer's blockbusters, and while it's dumbed down by a stale script, there's still some entertainment value for the popcorn moviegoer. For one, the special effects and visuals are admittedly impressive (especially the slick Indominus Rex), albeit with heavy, heavy CGI that occasionally casts a fake, green-screen spell. Two, Chris Pratt is a charming action hero (yes, he knows how to run), though the rest of the characters and story are mostly forgettable, especially Howard's ditzy character and her lack of chemistry with Pratt. Three, it's energetic and action-packed, including a breathless Godzilla-like finale, proving that while special effects have certainly advanced in twenty years, story and characters still can't keep pace with the dinos, with one of the worst-written villains of recent memory, wasting the talented Vincent D'Onofrio in a scene-chomping role whose motives are murky and a fate you'll see coming early on. In addition, be prepared for some egregious, annoying product placement - the shiny Mercedes vehicles themselves are supporting characters - and others such as Coke and Starbucks make distracting appearances. The fast-paced "Jurassic World" is a likable but silly, unmemorable big-budget blockbuster that uses some familiar calling cards - dinosaurs and lots of running - as good as, but not necessarily better, than the other "Jurassic" movies. There are also a few nods to the original that fans of that film should pick up here, including a famous T-shirt.

Love and Mercy - B+

Paul Dano as a young Brian Wilson

Rated PG-13, 120 minutes

Music the most fascinating part of the superbly acted, compelling Wilson bio drama "Love and Mercy"

"God only knows what we'd be without you," proclaims one of the most famous songs of Brian Wilson and The Beach Boys. The music world was a different and often better place with Wilson's presence, and the pensive, well-acted but absorbing new biographical drama "Love and Mercy" explores a gifted musician in control of his music but far less so with his personal life, and without the doubt behind-the-scenes music aspects are the most interesting. In the 1960s, young songwriter and recording savant Brian Wilson (Paul Dano) finds himself in the midst of extraordinary success with hit songs with The Beach Boys. After a panic attack, he then focuses on his signature album called "Pet Sounds" and struggles with psychological problems.  In the 1980s, a now-middle-aged Wilson (John Cusack) is shown to be a broken, confused man under the unconventional care of his therapist Dr. Eugene Landy (Paul Giamatti). After meeting Cadillac saleswoman Melinda Ledbetter (Elizabeth Banks), she is determined to save Wilson from Landy's manipulation. Directed by Bill Pohlad (the Oscar-winning producer of "12 Years A Slave") and co-written by Michael Alan Lerner, "Love and Mercy" is a well-fashioned, unconventional and warts-and-all musical biopic that's superbly acted by Dano as the younger Wilson and especially by Cusack as the older, well-worn Wilson. It provides a striking dichotomy between the two periods to highlight how much Wilson changed and many of the problems he had, and how the presence of a stern, douchey father and a crazy therapist (played well by Giamatti) impacted him and his music. Most fascinating, unsurprisingly, is Wilson's musical career and how the film is able to immerse you in the behind-the-scenes construction of his albums, and it's peppered generously with the familiar Beach Boys/Wilson tunes that you'll hum along with, and some engaging scenes in the studio that shows how Wilson did it all. The movie seems to skim over his psychological problems, and the film doesn't provide much insight into his family, given the focus is on his later life, and it's clear to see his second wife Melinda's influence over the film (Banks is a lovely presence in the movie). The film has sensitive, pensive sheen to it and "Love and Mercy" would be a lot more depressing without the music; the filmmakers are remarkably fair and restrained when it comes to Wilson's life, but it's still a gripping portrait of a musical genius whose music still resonates to this day.

Insidious: Chapter 3 - C-

Rated PG-13, 97 minutes

Shaye charms, but otherwise the silly "Insidious: Chapter 3" lacks any real scares

The titular song in the movie "Ghostbusters" had the line, "I ain't afraid of no ghost." Neither will you even if you happen to see the silly, painfully slow horror movie "Insidious: Chapter 3," the latest installment in the "Insidious" film series and by far the weakest and least scary in that series yet. This chilling prequel, set before the haunting of the Lambert family, reveals how gifted psychic Elise Rainier (Lin Shaye) reluctantly agrees to use her ability to contact the dead in order to help a father (Dermot Mulroney) and his teenage girl (Stefanie Scott), who has been targeted by a dangerous supernatural entity. Directed and written by "Saw" creator and actor Leigh Whannell, who also reprises a small role here he had from the other "Insidious" films, "Insidious: Chapter 3" is a sloppy, dumb movie that lacks the chills of the other "Insidious" films, which weren't great but had enough fun thrills to keep it at least mildly entertaining. Whannell, who created and produced the "Saw" series with his friend James Wan (who directed the first two in this series), makes his feature film debut here, and it's largely an inauspicious one because there's little place for the movie to go. It has a handful of serviceable jumps along with an evil ghost with exceedingly dirty feet, but a terribly slow first half with some woefully thin storytelling may quickly lose some and it doesn't find any sure footing until the final twenty minutes of the movie. "Insidious: Chapter 3" isn't a total waste, though, and it's helped by charming character actress Lin Shaye, who also made the first two "Insidious" movies memorable, as no-nonsense psychic Elise, who knows her way around the dark side and isn't afraid to push back when the ghosts start pushing her around. Whannell clearly wants her to be this film series' John Kramer or Freddy Krueger, building stories around a never-ending/nine-lives character, and while Shaye is certainly appealing enough to sustain another "Insidious" movie or two, the stories and the thrills must get better and more plentiful. This may draw in horror film fans or those who enjoyed the other "Insidious" movies, but "Insidious: Chapter 3," in spite of Shaye (who has the movie's best line, in the final few minutes of the movie), is a non-scary, silly waste of time.

Spy - B

Rated R, 117 minutes

Melissa McCarthy

No secrets here: McCarthy and Statham a solid comic pairing in the crowd-pleasing, broad comedy "Spy"

Based on their recent comic pairings "Bridesmaids" and "The Heat," it's no secret that Melissa McCarthy and director Paul Feig can deliver sharp comedy, doing so again in the flawed but broadly funny and entertaining "Spy," though another action star nearly steals the show. Susan Cooper (McCarthy) is an unassuming, deskbound CIA analyst, and the unsung hero behind the Agency's most dangerous missions. But when her partner (Jude Law) falls off the grid and another top agent (Jason Statham) is compromised, she volunteers to go deep undercover to infiltrate the world of deadly arms dealers (Rose Byrne and Bobby Cannavale), and prevent a global disaster. Directed and written by Feig, "Spy" is another crowd-pleasing comedy that's well-cast and well-played, led in full force by comic powerhouse McCarthy. McCarthy and Feig know each other well and play to the another strength's - and weaknesses. McCarthy carries the movie on her back in a role that's admittedly different from her typical outcasts, and while the comedy is broad, crude and predictable, she can always find a laugh, especially with props, such as a wig, a knife or a motorcycle. However, this time she's also aided by an A-list cast, and nearly upstaged in an unexpectedly strong comic performance in action star Statham, who's hilariously memorable as a bitter agent out to make a statement, as well from British comedian Miranda Hart, who's goofy British charm comes in handy as McCarthy's sidekick in the last act (that 50 Cent cameo helps too). As with some of Feig-McCarthy outings, "Spy" is too long and uneven, providing little explanation how the fumbling Susan can transform into a brash, knife-wielding agent overnight with little explanation. On that note, the second half is much more enjoyable, nimble and violent, and while there are few surprises, "Spy" should be another hit in the comic movie machine for both Feig and McCarthy. The opening credits scene is a fun homage to the James Bond movies.

Entourage - B-

Rated R, 95 minutes

Charming and crude, "Entourage" should most please fans of the TV series

If you've ever considered a career in Hollywood, the charming new comedy "Entourage," based on the 2004-2011 Emmy-award winning HBO series of the same, may persuade you otherwise. Fast, loose profane and loaded with star cameos, "Entourage" should most please fans of that series, yet it's still fun even for those unfamiliar with the series and you'll find it impossible to hate these guys, in spite of all the problems they cause. The film continues to profile the career of movie star Vincent Chase (Adrian Grenier) and his entourage of friends, Drama (Kevin Dillon), Turtle (Jerry Ferrara) and Eric (Kevin Connolly). His agent Ari Gold (Jeremy Piven), now studio head, bankrolls Vince's directorial debut with a $100 million budget but still goes $15 million over, throwing the film in disarray. To make matters worse, the film's financiers, a slick Texas billionaire Larsen McCredle (Billy Bob Thornton) and his buffoonish son Travis (Haley Joel Osment, unrecognizable from his "Sixth Sense" days), step in, only making matters worse. Directed and written by "Entourage" TV series creator Doug Ellin and co-produced by Mark Wahlberg (who also produced the TV series, and this is loosely based on some of his experiences), is relaxed and entertaining on a Hollywood-insider style level, even if it offers the same thing as what the TV show offered, though the plotting is thin and predictable, with a feel-good ending that feels tacked on. Earning that hard R-rating in big, crude way, it does still offer Piven as the colorfully acerbic, fast-talking Ari Gold, who much like in the TV show, provides the movie with its most memorable moments (and much of what he says can't be printed here, but you get the idea) as he helps guide Vince and the boys to bigger stardom in a unique, big-budgeted movie. Of the other guys, Dillon provides some of movie funny/sad moments as the washed-up actor of a more famous actor who may finally get his chance at stardom. As for all those cameos, which were also a big part of the TV show, most are throwaways, but there are a few good ones, most memorably from fighter Ronda Rousey, in a slightly extended cameo, Wahlberg, Gary Busey and Liam Neeson. I didn't care for the upbeat ending that feels different than the rest of the movie, but it leaves it open to more of these things. The engaging "Entourage" isn't revelatory and it entertains by riding on its thin, crude appeal, but maybe that's all that's needed to be successful in Hollywood.