A LEGO Brickumentary - C+

Rated G, 95 minutes

LEGO's can be awesome as demonstrated in the somewhat fascinating, playful new documentary "A LEGO Brickumentary," which explores the global phenomenon LEGO's have become since they were first introduced in Denmark in 1958, though you have to really, really love them to genuinely appreciate it. LEGO bricks are being used educationally, therapeutically, and have provided a universal system for human creativity and our innate desire "to build." "Brickumentary" delves into the extraordinary impact of the LEGO brick, its massive global fan base, and the innovative uses for it that has sprung up around the world. Entertaining and often fun but often feeling like an extended infomercial for LEGO's themselves, "A LEGO Brickumentary" is a modestly delightful but somewhat annoying look at the toy company 400 million bricks strong since its inception. Written by Daniel Junge and Kief Davidson and narrated by Jason Bateman in animated LEGO form, after the popularity of the huge animated film "The LEGO Movie" (which was mostly CGI, as LEGO enthusiasts in the film gladly point out yet something most people already knew) this would come as no surprise, though not the first to look at the LEGO company, see the 2012 animated Danish short "The LEGO Story" for more, but this explores the fascination with LEGO's over the last 50 years. There are LEGO conventions across the globe such as LEGO Con and Brickfair where LEGO geeks gather to inspire and show off their work; there are legitimate LEGO artists such as Nathan Sawaya who display their sublime work; there are huge displays of LEGO's, including my favorite, the largest LEGO display ever, a full-scale replica of a Star Wars X-Wing Fighter, not to mention LEGO Adult Fan Alice Finch's impressive replica of the city of Rivendell from the "Lord of the Rings" films (she later built an even more impressive replica of the Hogwarts castle from the "Harry Potter" movies, not seen in this documentary but you can find online), such a tremendous feat she won best in show honors at the nationwide LEGO convention several years in a row; LEGO's are even being used in therapeutic situations with autistic children, something the film only skims the surface on. Heck, LEGO enthusiasts even have their own language, including the most common, AFOL's or Adult Fans of Legos and LUG's, or Lego User Groups, and the LEGO company has become increasingly interactive to encourage building new ideas and developing new LEGO sets. All of this is mildly interesting, though if you don't love LEGO's, much of it might be lost on you (the huge LEGO X-Wing fighter is still sorta cool though). On that note, "A LEGO Brickumentary," featuring slightly annoying, overdone narration from Bateman, will appeal mainly to LEGO geeks and toy lovers who enjoy spending all that time putting together the pieces, while the rest of us will appreciate the finished product.

Mission: Impossible Rogue Nation - B

Rated PG-13, 132 minutes

No matter your personal, off-screen feelings for Tom Cruise, you have to admit that the action-packed "Mission: Impossible" films, which have been going on now for nearly two decades, are his calling card at this point in his career. As the spy with more than nine lives, his fun and energetic but hardly surprising "Mission: Impossible Rogue Nation" once again delivers the goods and is poised to be this summer's next big blockbuster. The IMF agency comes under threat from the Syndicate, a near-mythical organization of assassins and rogue operatives who kill to order. Faced with the IMF's disbandment, Ethan Hunt (Cruise) assembles his team for their final and most difficult mission—to prove the Syndicate's existence and bring the organization down by any means necessary. Directed and written by frequent Cruise collaborator and Oscar-winning writer Christopher McQuarrie ("Jack Reacher," "The Usual Suspects"), "Mission: Impossible Rogue Nation" is another fast-paced, action-packed thriller in the "M:I" franchise and the fifth film in the series, showing a muscular resurgence (and while this is good, the previous entry, "Ghost Protocol," is better) along with that familiar, iconic Lalo Schifrin tune. Featuring Cruise and an all-star cast, some familiar faces along with some new ones, including Jeremy Renner, Ving Rhames, Simon Pegg, Alec Baldwin, and as Cruise's love interest and chief antagonist, Rebecca Ferguson and Sean Harris, respectively, the film's typically preposterous plotting only serves to show off its energy and some well-staged action sequences, including an impressive opening scene (and the one prominently featured in the film's trailers) with Cruise literally hanging off the side of the plane, as well as many breathless car-motorcycle chases, the best one of which occurs mid-film amidst the Moroccan desert, not to mention a sublime underwater scene and a clever climax with more of those all-too familiar masks. Someone is always double-crossing someone in the "M:I" films which makes it seem redundant and confusing, but they're also terrific fun to watch, with some stellar comic support from Pegg as Benji, who by now is in need of his own comedic spinoff spy movie that could put Melissa McCarthy to shame. "Mission: Impossible Rogue Nation" has few, if any surprises, but it's still vastly entertaining and a decent thriller that's fun to be a part of. A must-see if you enjoy these movies.

Samba - C

Rated R, 106 minutes
In French, with English subtitles

The new romantic French drama "Samba" is the new movie from the directors and star of the immensely entertaining 2011 hit "The Intouchables." "Samba," much like that film, has plenty of heart and appealing leads, but it's bumpy script struggles with a meandering story and identity problems. The movie tells of an undocumented kitchen worker battling deportation from his adopted home in Paris. For ten years, Senegalese immigrant Samba (Omar Sy, charming as ever) has stayed under the government radar, taking menial kitchen jobs in the hope of becoming a professional chef. He meets a local immigration worker named Alice (Charlotte Gainsbourg of "Terminator Salvation"), a depressed professional with issues of her own, and the two fall for each other while helping each other the possibilities that await them. Co-written by "The Intouchables" Olivier Nakache and Eric Toledano and co-directed by Nakache, Toledano and Rafael Gil, "Samba" is a disappointing, uneven affair with a slow, wandering middle act that makes it feel much longer than it really is. Cesar Award winner and "Intouchables" star Sy gives another rich performance as the Senegalese immigrant who moves from one crappy job to the next in hopes of fulfilling his dream as a chef; Gainsbourg is also good as the immigration worker with an instant attraction to Samba. You would think with a title like samba, that it would have more life and excitement like the South American dance does, instead it's talky and slow with some obvious identity problems: part immigration drama, part romantic drama and part buddy-buddy comedy, none of which is fulfilled, especially the romance, which really doesn't take any true shape until very late in the movie (as in the final few scenes). The immigration aspect is the most compelling, and there are some moving moments as Samba dreams of a "house by the lake with all he needs" and some fun moments with his "Arab-Brazilian" buddy Wilson (a memorable, funny Tahir Rahim), including a humorous stint as window washers. Sy's great performance is the best thing about the likable but sluggish French drama "Samba," and you're better off skipping it and renting the much more affecting "The Intouchables," which didn't get its true appreciation here in the States.

Vacation - C-

Rated R, 99 minutes

Well, for the record it's not a remake but a sequel. Those who enjoyed the classic 1983 family trip comedy "National Lampoon's Vacation" may find solace in that, and the new version of "Vacation," much like the original, is profane, predictable and mildly enjoyable. Sporadically funny and exceedingly silly, it's not as memorable as that '80s version and missing some of its key elements (no Christie Brinkley or Cousin Eddie) but its low-brow humor fits in perfect with some of today's comedies. Following in the footsteps of his father Clark (Chevy Chase, appearing briefly) and hoping for some much-needed family bonding, a grown-up Rusty Griswold (Ed Helms) surprises his wife, Debbie (Christina Applegate), and their two sons, James (Skyler Gisondo) and Kevin (Steele Stebbins), with a cross-country trip back to America's favorite family fun park: Walley World. Co-directed and written by "Horrible Bosses" scribes John Francis Daley and Jonathan Goldstein, "Vacation" is a bumpy road, dumb fun and escapist entertainment - if you need a mindless getaway - then this might be your answer. The original "Vacation," which at the time seemed a little edgy in its dirty humor, now seems pale compared to some of the new film's contemporary, low-brow antics due to changing times, but it doesn't mean the comedy has evolved, it's just what audiences seemingly want, including some nudity (male and female), a little blood, some borderline sexual/creepy humor and of course a generous splattering of feces. With a very game, energetic Helms and Applegate, "Vacation" still hits some snags with its hit-and-miss, mean-spirited humor, often losing its way underneath its episodic gags, some of which work - the final Wally World sequence was fun, along with periodic nods to Seal and his classic tune "Kiss From A Rose"- and some of which don't - including a misplaced, unfunny stop in Texas (in Plano of all places) with Leslie Mann and a miscast Chris Hemsworth as sister Audrey and her rich cowboy husband. I did feel some nostalgia seeing Chase and Beverly D'Angelo, as brief as it was in the last act, as well generous helpings of Lindsey Buckingham's catchy, familiar "Holiday Road" and the most important cameo of all, the Family Truckster, all shiny and square and ready to hit the road. The serviceable "Vacation" is sporadically fun but mostly silly, stupid and unnecessary, which could also speak to many family vacations. You'll be glad to get home after this mediocre "Vacation" which sometimes gets lost and sometimes will make you giggle a time or two too; for the record: the funniest part is its opening credits, which feature those real-life, uncomfortable vacation pictures you often see floating around online.

Southpaw - B-

Rated R, 123 minutes

The hard-hitting, entertaining new boxing film "Southpaw" pulls some solid punches from a story you've seen before. Superbly acted in a transformative performance from a bulky Jake Gyllenhaal, the acting and impressively staged boxing scenes lift it from its well-worn, predictable story (down-on-luck boxer comeback story). Billy Hope (Gyllenhaal) seemingly has it all with an impressive career, a beautiful and loving wife (Rachel McAdams), an adorable daughter (Oona Laurence) and a lavish lifestyle. When tragedy strikes and his lifelong manager and friend (Curtis "50 Cent" Jackson) leaves him behind, Hope hits rock bottom and turns to an unlikely coach at a run-down local gym: Tick Willis (Oscar winner Forest Whitaker), a retired fighter and trainer to the city's toughest amateur boxers as he struggles with redemption and to win back the trust of those he loves. Directed by Antoine Fuqua ("The Equalizer"), and co-written by Richard Wenk and "Sons of Anarchy's" Kurt Sutter, "Southpaw" is well-acted and enjoyably gritty amidst some of the script's more calculated turns. The story is most problematic in the first act, when Hope goes from hero to zero in two seconds flat - and while it's believable it's not exactly realistic given how much money and notoriety that real boxers make these days - not to mention they kill off the lovely, underused McAdams in a flash. From there, you have a sense as Hope builds his way back up and into the ring, what will happen (and it does, unsurprisingly), though a bulked up Gyllenhaal gives another of his typically stellar turns as the down-on-his-luck boxer, and he's well-supported by Whitaker, in one of his better roles of recent memory, and charming Broadway actress Laurence as his angry daughter. The boxing scenes, especially the moving final fight, highlight the modestly powerful "Southpaw," and it's a must-see for those who enjoy boxing and boxing movies in particular. While overall not as gritty "Raging Bull" or lacking the emotional gravitas of a "Rocky," it's still worth a look for Gyllenhaal's strong performance.

Paper Towns - C+

Rated PG-13, 109 minutes

"Paper Towns" is a charming young adult coming-of-age dramedy with some good aspects - namely its appealing, breakout leads - though its story lacks the substance of others in this genre and tends to play it too safe. Quentin "Q" Jacobsen (Nat Wolff, the scene stealer from "The Fault in Our Stars") lives next door to enigmatic Margo Roth Spiegelman (British actress Cara Delevingne), his childhood neighbor from whom he has since drifted, but still has feelings for. One night, when she climbs through his window and summons him on an all-night trip of revenge, he can't help but follow her lead. The next day Margo goes missing and Q soon learns that there are clues in her disappearance that seem to be meant for him to make sense of. In his quest for true friendship and love, Q becomes unsure exactly where this adventure might lead him. Based on John Green's best-selling young adult novel of the same name, "Paper Towns" is directed by Jake Schreier ("Robot & Frank") and written by Scott Neustadter and Michael Weber, the team behind Green's "The Fault in Our Stars" film adaptation and "The Spectacular Now" and should be a hit with the young female set this primarily appeals to. The movie is a mixed bag and could've been essentially a contemporary, more winsome "Perks of Being a Wallflower" as it follows three nerdy pals - played with geeky energy by Wolff, Justice Smith and Austin Abrams - striving to find love with their ideal women, which looks different to all of them. On that note, when it focuses on the friendship of these geeks "Paper Towns" works best (highlight: the trio singing the "Pokemon" theme song), but it tends to lose its way in the last act spending way too much time on an unnecessary, fruitless road trip to find their eccentric friend. It seems a waste given the disappointing outcome (the script, unlike the book, doesn't really bring that out), and the movie seems to only scratch the surface of teenage rebellion or true love: falling in love with a real woman, or what your ideal image of your woman is. A modestly entertaining effort, "Paper Towns" is memorable for its breakout stars Wolff and Delevingne, a lovely presence whose role seems minimal here, who seem destined to be the next Shailene Woodley and Miles Teller (who cameos here along with Ansel Elgort), but just know this is junior league stuff compared to the aforementioned "Fault," "Spectacular Now" and "Perks." The characters here speak of each other here as "something special" - too bad the movie doesn't quite measure up to that.

Safelight - D

Rated R, 84 minutes

The dull, generic teen drama "Safelight" is in need of some spark to give it some life. In spite of its attractive leads, it's a story you've seen so many times before you could probably guess what will happen. A high-school student ("X Men Days of Future Past's" Evan Peters) tries to help a troubled runaway ("Far From the Madding Crowd's" Juno Temple) escape from the clutches of her psychotic pimp (Kevin Alejandro). In the process, they discover a renewed sense of possibility as they go on a road trip to photograph lighthouses along the California coast. Directed and written by Tony Aloupis ("Sugar"), this cookie cutter teen romance in which an unlikely pair - this time the nerdy teen with a limp and the young prostitute - go off to take pictures of lighthouses in hopes this will give some sense of self-discovery. What they really need to find is an original, revelatory script and direction that loses its way early on; and for the record its premise, driving around and looking at those pretty lighthouses, isn't really given that much footage. Peters and Temple are both handsome, bland leads with little chemistry, and even more they can't overcome the many cliches in the script that seem to suffocate the story: the mean boys, mean pimp, the ill father, the dead brother, the even meaner sisters, all of which add up to very little. The picturesque light houses, some cool 70's cars and a wisecracking Emmy and Golden Globe winner Christine Lahti, aren't used near enough to make a difference in "Safelight's" sleep-inducing, talky storyline that meanders, especially those dreary father-son conversations between Peters and his screen dad Jason Beghe, all over the place until it reaches a laughably staged climax with Alejandro's evil pimp. Lighthouses are meant as a source of guidance and help, and ironically the awfully unsatisfying and just awful movie "Safelight" could use a big helping of it in terms of originality, story and characters.

Nowitzki: The Perfect Shot - B

Unrated, 105 minutes

Dirk Nowitzki

If you enjoy sports and the stories behind them, you'll enjoy the fascinating, fast-paced and often fun documentary "Nowitzki: The Perfect Shot," an entertaining documentary that follows the career of Dallas Mavericks basketball star Dirk Nowitzki, his relationship with coach and mentor Holger Geschwindner, and their path to NBA glory. Directed and written by German filmmaker and TV director Sebastian Denhardt, "The Perfect Shot" details Nowitzki's life from gangly German teenager with a bad haircut to NBA superstar and MVP, with plenty of highs and lows in between. The focus is how his coach and mentor Geschwindner helped Nowitzki navigate through all of this, and his role in Nowitzki's personal and professional life. "Perfect Shot" is best when the cameras let Nowitzki be himself, and it's in those candid times when we learn more about him, especially in how he treats fans (he lets young fans climb on him and is generous with autographs), his family and how he likes to have fun, such as (my favorite moment, along with the Mavs winning the 2011 NBA Championship and Nowitzki's awful version of Queen's "We Are the Champions") dressing up as Martina Navratilova for Halloween at his wife's encouragement. His relationship with Geschwindner is also an interesting, especially in the role he played in some of Nowitzki's tougher moments, such as losing the NBA championship in 2006 or a failed relationship that should've never happened, making you wonder who exactly calls the shots; "Perfect Shot" lacks some clarity on this, especially when when Geschwindner himself has faced some challenging times. There's also a bevy of interviews with colleagues, friends and family, including Mark Cuban, Don and Donnie Nelson, his wife Jessica, Michael Finley, Steve Nash and a host of others that often humorously shed light on the public and private persona of one of the NBA's best players, and one who will be fondly remembered. The winning sports documentary "Nowitzki: The Perfect Shot," while not perfect (it tends to skim over the painful memories and focus on the good ones), but is worth a look for sports and non-sports fans alike. It's also a painful reminder that Nowitzki, a genuinely nice guy and a true champion on and off the court, isn't a champion when it comes to singing.

Mr. Holmes - B

Rated PG, 105 minutes

Ian McKellan as Mr. Holmes

Sherlock Holmes has always been one of the most intriguing, fascinating fictional characters of stage, screen and book, and he's the subject of yet another film, this time a look that hopes to shed some mystery on the man himself. The thoughtful, superbly acted "Mr. Holmes" is a pensive but satisfying revisionist look at the renowned character. It's 1947 and an aging Sherlock Holmes (Ian McKellan) returns from a journey to Japan, where, in search of a rare plant with powerful restorative qualities, he has witnessed the devastation of nuclear warfare. Now, Holmes faces the end of his days in his seaside estate tending to his bees, with only his housekeeper Mrs. Munro (Laura Linney) and her young son, Roger (newcomer Milo Parker) near him. Grappling with the diminishing powers of his mind, Holmes relies upon the boy as he revisits the circumstances of an unsolved case that forced him into retirement, and searches for answers to the mysteries of life and love - before it's too late. Directed by Bill Condon ("The Fifth Estate") and written by Jeffrey Hatcher based on the book "A Slight Trick of the Mind" by Mitch Cullin along with Arthur Conan Doyle's famous sleuth, "Mr. Holmes" provided a shaded look at how humanity and old age can catch up with the best of us. Though by no means an action thriller, it's still worth a look for the excellent performance from McKellan as the elder Holmes, who has such trouble remembering things - especially names of even those close to him - he writes names on his sleeve to remember them (a sly trick if there ever was one and not a bad one, either). Slow-moving and sometimes sad, it's also a moving, revisionist portrait of one of our most memorable characters; in addition to McKellan, Linney is also strong as his long-suffering housekeeper, as is young Parker as his beekeeping assistant. Some of the back-and-forth between story and reality is a little uneven and requires the audience to play close attention to detail, but if you stay with it, especially its touching last act, this is a worthwhile character-driven movie, and expect to see McKellan garnering some accolades for his fine turn in "Mr. Holmes," especially since he grounds the film with an unexpected sense of humanity and humor. As a side note, Sherlock Holmes is in fine display these days, with two current TV shows, a video game and (of all things), a Japanese puppetry version.

Batkid Begins - B

Rated PG, 87 minutes

We have all wanted to be a superhero at some time in our lives, and the sweet, entertaining new documentary "Batkid Begins" tells how that became possible, for one day, for a sick young boy. On one day in November 2013, in San Francisco, California, the world comes together to grant one 5 year old leukemia patient (and now cancer survivor) named Miles Scott his wish. Batkid Begins looks at the 'why' of this flash phenomenon and how it all came together. Directed by Dana Nachman and co-written by Nachman and Kurt Kuenne, the sentimental, very likable new documentary "Batkid Begins" ultimately explores how one city came together in a selfless act to stage the most elaborate and most unlikely Make-A-Wish projects ever.  Uplifting for sure, you'll certainly have tears in your eyes on more than occasion, especially since the memorable event, which caught nationwide attention as San Fran temporarily became Gotham City, went off much better than anticipated. It's certainly worth a look for how the human spirit can come together to help, but it's also fascinating and relevant for other reasons. "Batkid Begins" goes into great detail in explaining how the event came together, and it occasionally forgets its subjects, the delightful Scott and his family Nick and Natalie and Miles' younger brother, who are all much more interesting than some of the banal event planning details that the movie spends considerable time on. The relevancy is not only with its planning and especially the people involved, including some gregarious characters in Eric Johnston, Sue Johnston, Mike Jutan, Phillip Watt, Lou Seal as well as the coordinator of it all, San Francisco Make-A-Wish Foundation head Patricia Wilson, but in the power of social media, and how it transformed what was initially a small-scale event into a huge one. As long as the movie sticks with the event's emotional impact and not the event itself, then the enjoyable "Batkid Begins" is a heartwarming experience yet one that would be hard to top. Definitely worth a look and take tissues with you.

Infinitely Polar Bear - B

Mark Ruffalo

Rated R, 90 minutes

The affecting, quirky new indy dramedy "Infinitely Polar Bear" is a familiar family drama that is most memorable for the remarkably strong performance of its lead actor, who makes this effort worthwhile. A manic-depressive mess of a father named Cameron (Mark Ruffalo) tries to win back his wife (Zoe Saldana) by attempting to take full responsibility of their two young, spirited daughters Amelia and Faith (newcomers Imogene Wolodarsky and Ashley Aufderheide, who don't make the overwhelming task any easier. Directed and written by "The Larry Sanders Show" scribe Maya Forbes and autobiographical in nature, the touching new drama "Infinitely Polar Bear" would be an immensely frustrating experience if not grounded by the excellent, award-worthy turn from Ruffalo as the loving, eccentric father with some clear issues. The film's uneven flow, especially in its early chapters, can be a challenge, but Ruffalo's strong emotional core keeps the movie going, and in the end, its a wholly, emotionally satisfying experience. Saldana is also good as the mother trying to make her family's life better, and the unaffected performances from the precocious young girls and their chemistry with Ruffalo is also a treat; it helps that newcomer Wolodarsky, who plays older daughter Amelia, is Forbes' real-life daughter. Though the story is an original one (it's based on Forbes' childhood but some names are changed), the quirky tone reminded me of a "Squid and the Whale"/Baumbach-esque type of film, especially with all the unusual 1970's automobiles that flow in and out of it (the family's first station wagon in the movie is particularly fun). The final exchange between Ruffalo and Saldana's characters in trying to determine a workable family plan, is the best scene in the film and one you won't soon forget after you leave the theater. An honest portrayal of mental illness and its effects on families, "Infinitely Polar Bear" (so named by the girls in describing their father's issues with bipolar depression), is worth a look, and don't be surprised to see Ruffalo in awards contention at year's end.

Ant-Man - B-

Rated PG-13, 115 minutes

 
If there were ever a movie made about my life, I want Paul Rudd, who has the perfect mixture of comic and dramatic ability, to play me. Rudd brings his understated appeal to the new superhero film "Antman," the latest in the long line of Marvel Cinematic Universe (MCU) adaptations. One of the lesser known and unusual Marvel characters, "Ant-Man," much like an ant, is small yet mighty; the great cast makes it enjoyable enough though much of the story is over-the-top silly and predictable. Armed with the astonishing ability to shrink in scale but increase in strength, master thief Scott Lang (Rudd) must embrace his inner-hero and help his mentor, Dr. Hank Pym (Oscar-winner Michael Douglas), protect the secret behind his spectacular Ant-Man suit from a new generation of towering threats. Against seemingly insurmountable obstacles, Pym and Lang along with Pym's daughter Hope (Evangeline Lilly) must plan and pull off a heist that will save the world from the evil Yellowjacket (Corey Stoll). Directed by Peyton Reed ("Yes, Man") and with a story by Edgar Wright and Joe Cornish (who also co-wrote the screenplay with Rudd and Adam McKay, of all people), the modestly enjoyable, charming "Ant-Man" certainly has the energy of an ant and is helped by a talented cast and strong visuals, which carry it past some of its story issues. For those unfamiliar with the comic book world (and count me one of them), Dr. Pym and his late wife, one of Stan Lee and Marvel's little-known characters, were the first Ant-Man and Wasp a duo who were the founding members of what we know now as the Avengers. Now that you have your Marvel Comics history lesson, you can see the importance of the Ant-Man character, though you wouldn't know it by the film's uneven, silly storyline, which doesn't explain much of this and instead focuses on the comical integration of Lang to the superhero world. Some of it works, some of it doesn't, plus you're never entirely sure how serious the writers really take this, with an intent on having Dr. Pym unnecessarily explain all the movie's technology, as well as a confusing climax that alternates between small and large. Still, the movie succeeds on the cool special effects - the real ants are pretty cool - and the charms of Rudd, an inspired though unconventional casting choice here who makes it work for him, and especially Douglas, who is also very believable as Pym. However, some others aren't as well-written: the movie's chief villain, the Darren Cross/Yellowjacket character, is much too milquetoast and definitely not evil enough that the story requires, while Lilly's character is woefully underwritten. On that note, "Ant-Man" has some clear story problems (chiefly - an enormous amount of untold backstory) yet has enough fun and energy to make it another hit in the Marvel machine. Give it time and it may grow into a decent series for Marvel; for enthusiasts there are some nice touches: an enjoyable cameo mid-film from Falcon (Anthony Mackie) as well as some nods to someone named Stark.

Cartel Land - B+

Rated R, 98 minutes

If you want to know the current state of drug cartels in Mexico, look no further in the downbeat but often powerful new documentary "Cartel Land," which examines the activity of not just the Mexican drug cartels, but more importantly the rise of vigilante groups formed to help dispel their incredibly powerful activity and influence. In the Mexican state of Michoacán, Dr. Jose Mireles, a small-town physician known as "El Doctor," leads the Autodefensas, a citizen uprising against the violent Knights Templar drug cartel. Meanwhile, in Arizona's Altar Valley - a narrow, 52-mile-long desert corridor known as Cocaine Alley - Tim "Nailer" Foley, an American veteran, heads a small paramilitary group called Arizona Border Recon, whose goal is to stop Mexico's drug wars from seeping across our border. Directed by documentary filmmaker Matthew Heineman and executive produced by Oscar-winning director Kathryn Bigelow ("The Hurt Locker"), the compelling "Cartel Land" is a gritty, chilling look at the vigilante groups and their attempts to stop the spread of the deadly, murderous Mexican drug cartels. The leaders of the respective vigilante groups, both Mireles and Foley, come from widely different backgrounds (Mireles is a doctor in Mexico while Foley is a former drug addict who lost nearly everything to drugs) and work in different areas, but share a united purpose: to fight back at all costs against the cartels, who have seemingly overtaken Mexico and have begun seeping slowly into the U.S. Heinaman's visceral look at the situation takes his camera into the dark, bloody and unpredictable world of the fight, one that touches all levels of society and one that continues today. Mireles' story is slightly more interesting, mainly because it's in the heart of the Mexican desert, not to minimize Foley's difficult fight that is dangerously close to U.S. soil. While Heinaman does a superb job detailing the battle, "Cartel Land" is not an uplifting film - it's rather a depressing, somewhat exhausting one that often blurs the line between good and evil - and while required viewing for teens and above - it's not an enjoyable experience. "Cartel Land" is a powerful, dark look at the drug fight, and more than blurring the line between good and evil, it treads the ground between hope and hopelessness, and will make you wonder if the battle will ever end.

Trainwreck - B

Rated R, 122 minutes

The raunchy, sharp new comedy "Trainwreck" is far from one, though it's not perfect, either. It goes on much too long and often feels redundant, but the film is peppered with enough hilarious moments from its charming breakout star, stand-up comedian Amy Schumer, that it should easily win you over. When she was growing up, Amy (Schumer) was told by her father (Colin Quinn, more likable here than usual), repeatedly, that monogamy is impossible; as a grownup, she is a commitment-phobic but successful magazine writer. But when an interview with a sports doctor (Bill Hader) turns into a night out with a man who seemingly has no defects or hangups Amy can use to justify breaking up, she may have to face whether her fear of commitment is keeping her free, or holding her back. Directed by Judd Apatow ("Knocked Up") and written by Schumer that's a semi-autobiographical sketch of her life, "Trainwreck" is an entertaining, low-brow and overlong comedy with a strong female center. Apatow's uneven direction causes it to occasionally veer off from its true purpose: a very informal, loose romantic comedy, but it has its good points, particularly its likable lead actress, a great cast and some nice laughs. Comedienne Schumer is a delight as the woman whose life is truly in a rut, and her honest, down-to-earth performance should propel her further into stardom; her screenplay is less successful, which is often excessive and a retread of some of her stand-up material. Apatow is a decent fit as director, though as with nearly all of his efforts, it's too long and a little unfocused, with unnecessary characters and longer-than-necessary scenes that could've been trimmed for efficiency and continuity. Of the large cast (including many talented folks: Quinn, Vanessa Bayer, Brie Larson, Mike Birbiglia, Ezra Miller, Randall Park and many others, including cameos from athletes such as Amar'e Stoudemire, Chris Evert and Tony Romo) and aside from Schumer the most memorable include "Inside Out's" Hader, whose everyman, low-key appeal is a perfect compliment to Schumer's high-strung personality; NBA star LeBron James, showing his comic chops, stealing some key scenes from both Schumer and Hader and who dispenses advice with Kanye's "Golddigger" or who tries a romantic intervention with some of his celebrity friends. It's also worth mentioning that it features an unrecognizable but hilarious Oscar-winner Tilda Swinton as Schumer's very glam Anna Wintour-esque boss, who I didn't recognize well into the movie underneath those long, wavy locks and makeup, a far cry from her usual oddball roles. "Trainwreck" has some dirty fun, laugh-out moments (among them: Schumer trying to get pro wrestler John Cena - as one of her boyfriends - to talk nasty in bed) and a hilarious climax with the movie's best scene, Schumer as a Knicks cheerleader seeking to win over Hader. "Trainwreck" could've been a smoother ride especially in its rambling last act, overall lacking the spark and energy of the Apatow-produced "Bridesmaids," but it shows off Schumer's confidence, the chief reason to see the movie and who's obviously poised to go on to greater things after this.

The Minions - C+

Rated PG, 91 minutes

The bananas, I mean the minions, have finally arrived with their own enjoyable but uneven new animated flick "The Minions," after all but stealing the superior "Despicable Me" movies. It provides a clever new understanding of Comic Cons (called Villain Con here) and enough amusement for the family, even if you don't always know what the funny yellow fellows are saying. Evolving from single-celled yellow organisms Minions live to serve, but find themselves working for a continual series of unsuccessful masters, from T. Rex to Napoleon. Without a master to grovel for, the Minions fall into a deep depression. But one minion, Kevin, has a plan; accompanied by his pals Stuart and Bob, Kevin (all voiced by Pierre Coffin, who also co-directs) sets forth to find a new evil boss for his brethren to follow. Their search leads them to Scarlet Overkill (Sandra Bullock), the world's first-ever super-villainess. Co-directed by Coffin and Kyle Balda and written by Brian Lynch, the colorful, zany prequel of sorts, "The Minions" is the next big animated movie at the box-office, thanks to all the little yellow friends. After a sluggish first act telling the minions backstory and setting up their next adventure with Scarlet (well-voiced by Bullock, who seems to be having a great time here), once it becomes looser and more malleable in the second act, it picks up energy and there's some real laughs to be had, not to mention some well-integrated 60's tunes, including "Happy Together," "Got to Get You in My Life" and especially "Mello Yellow." It also has a stellar, though slightly overcrowded supporting voice cast, including Michael Keaton and Allison Janney as a bank-robbing pair who help escort the minion trio to their destination, along with Jon Hamm as Scarlet's inventor husband Herb. Yet it's Coffin's tiny yellow trio who gets in the lion's share of laughs including a nice bit with the Queen of England (Jennifer Saunders of "Shrek 2" fame) and a hilarious climax that will remind some moviegoers of the "Ghostbusters" Stay Puft Marshmallow Man. "The Minions" is a solid animated entry with enough merriment to keep the young ones engaged, and and while it's not quite as inspired as the "Despicable Me" movies, Gru's appearance at the end and over the credits proves that, it's certainly good for some funny moments.

Amy - B+

Rated R, 128

The late Amy Winehouse.

minutes

The compelling and fascinating documentary "Amy" details the tragic life of talented pop star Amy Winehouse, and is a must-see for music fans. Despite just two albums to her name Amy Winehouse is one of the biggest music icons in British history. With a voice oft described as a combination of Billy Holiday, Dinah Washington and Sarah Vaughan, Amy Winehouse was a pop star with soul; a once in two generational musical talent whose appeal crossed cultural and demographic boundaries. But while her music made her a star, her chaotic personal life stole headlines. Directed by acclaimed documentarian Asif Kapadia ("Senna"), "Amy" is a powerful, intriguing look at the life and death of Winehouse, whose troubles far outshone her actual talent. Winehouse was a unconventional and flawed talent, and likewise the documentary is unconventional and sometimes flawed: it's told solely through extensive home and news footage and photographs, some of it rare, and Kapadia, rather than using the standard documentary talking heads, only uses voices (including Winehouse's). It works well for the subject, though it's a mixed bag, as it would've added a layer of emotion to see the subjects as they speak of Winehouse and her talent. In addition, it mixes some unnecessary graphics of her lyrics as she sings of her songs, which is also good but Winehouse's voice is strong and powerful enough that it isn't really needed. On that note, Winehouse was a troubled, intriguing star, and unsurprisingly, these musical interludes are the best part of the film, and if you weren't a fan of her voice, you will be by the end of the film (even as a teen, her unique sound resonated beautifully); for the record, her father or her husband come off well, and rightfully so. "Amy" goes on too long and can be redundant, especially through the singer's drug issues, but it's still a must-see for Winehouse and music fans in general. Best scene: seeing Winehouse win the 2008 Grammy Award for Record of the Year, something I personally and vividly remember watching. One of the most compelling and sad documentaries this year, put this one on your list to see.

Self/Less - C

Rated PG-13, 117 minutes

With many sci-fi films, you have suspend realism and disbelief to have a good time, especially when concerned with switching bodies or time travel. The hackneyed, mildly entertaining new sci-fi thriller "Self/Less" is one of those preposterous body transfer movies whose premise is far more intriguing than its execution. Billionaire industrialist Damian Hale (Ben Kingsley) is master of his universe, until he encounters a foe that he can't defeat: cancer. His only hope is a radical medical procedure called "shedding" performed by a mysterious doctor (Matthew Goode) in which his consciousness is transferred to a healthy body. After the procedure, Damian, now called Edward (Ryan Reynolds), starts a new life in New Orleans, but is plagued by disturbing images. When he delves into Edward's mysterious origin, he learns that some will kill to keep it secret. Directed by Tarsem Singh ("Mirror, Mirror") and co-written by Alex Pastor and David Pastor, "Self/Less" starts off well and loses its footing in its second act, with some clear identity problems from its script; it knows its premise, it's just unsure how to deliver the goods. For the record, this is almost all Reynolds'  (whose done thing before, in the dreadful 2011 comedy "The Change-Up") film, and I'm unsure how Oscar-winner Kingsley gets top billing for a film in which he appears in only the first 15 minutes (you think I'm kidding, but I'm not, it's a very tiny role to share top billing). His character is far more interesting than Reynolds' underwritten character, and while Reynolds brings his usual, bland charm to the role, I had trouble connecting with him on an emotional level. Singh does manage some decent, intense hand-to-hand fight scenes which pepper the movie along with one decent car chase, but muddled plotting and characters that pop in and out that aren't well-drawn (though well-cast), especially Goode's evil doctor, Michelle Dockery of "Downton Abbey" fame as Damian's daughter, Natalie Martinez as Edward's wife, and the always likable Victor Garber as Damian's business partner. The likable, modestly engaging but ultimately unsatisfying "Self/Less" isn't a terrible film, but one with a great idea with results that are disappointing.

The Gallows - D

Rated R, 81 minutes

When someone is going through a tough time, it's common to say "hang in there" to help them along. Not so with the unoriginal new found footage horror film "The Gallows," a silly entry for such an overused, contrived genre. In 1993, a student of Beatrice High School named Charlie Grimille is killed in a horrific accident during the small town school's play, The Gallows. Twenty years later, students at the school resurrect the failed show in a misguided attempt to honor the 20th anniversary of the tragedy - but a few students (Reese Mishler, Cassidy Gifford, Ryan Shoos, Pfeifer Brown) break in at night to hamper the production and soon discover that some things are better left alone for good. Co-directed and written by Travis Cluff and Chris Lofing and produced by prolific horror movie producer Jason Blum ("Insidious," "Paranormal Activity"), "The Gallows" is peppered with a few jumpy moments, but its muddled, far-fetched story is a stretch even for a horror movie. For one, it's not terribly original, especially since all the main characters first names here mirror their own real names, not to mention it becomes obvious watching "The Gallows" that it was done quickly and on the very cheap, with camera work that will surely make you dizzy. Once the plot is revealed, it's not all that shocking, but more confusing as to who or what is exactly behind this, since that's never fully explained - and even more baffling is why this is Rated R - there's very little blood or violence to speak of and the original accident is so badly staged and blurry it doesn't really seem all that shocking. "The Gallows" ends up a tangled mess and a lousy excuse for its young stars to wander in the dark and make really stupid decisions (the final one is a doozy: all I have to say is dude, you were literally home free); one of the stars of the movie is Frank and Kathie Lee Gifford's daughter Cassidy - if I were her I wouldn't be exactly proud of this - but hey you have to start somewhere. You're better off hanging around anywhere else than at the movie theater seeing the awful "The Gallows," which is mostly a waste of your time a reason to put a noose around the found footage genre.

Terminator: Genisys - C-

Rated PG-13, 119 minutes

You can count on one thing: when Arnold says he'll be back, he'll be back. Arnold Schwarzenegger returns as The Terminator in the action-packed but bloodless reboot "Terminator: Genisys," which is a completely different story than previous outings. The wobbly, confusing story drags the movie down a little and may confound  "Terminator" purists, but those looking for loads of action and impressive visuals are likely to find it. After finding himself in a new time-line, Kyle Reese (Jai Courtney) teams up with John Connor's (Jason Clarke) mother Sarah (Emilia Clarke) and an aging terminator (Schwarzenegger) to try and stop the one thing that the future fears, "Judgement Day." Directed by Alan Taylor ("Thor: The Dark World") and co-written by Laeta Kalogridis and Patrick Lussier and based loosely (make that very loosely) on the James Cameron's original "Terminator" characters, "Terminator: Genisys" is an energetic, fast-paced yet muddled entry in the "Terminator" franchise, which rewrites the Connor story altogether, with some parts working better than others. Mostly, many won't care for this vastly new time-line, which makes John Connor the chief villain and negating much of the previous outings (essentially, the entire first film) and his savior role from the other movies. Second, the bland pairing of Courtney with Emilia Clarke (along with the equally bland Jason Clarke as John) lacks spark and genuine chemistry, given their relationship is the backbone for the whole film. The impressive visuals and action sequences carry the movie through the confusing and redundant story (OK, we get it, the robots are indestructible, just how many times and ways do you have to shoot them to prove that?) that lumbers along between fights and time travels until a slightly disappointing finale. As for Arnold, he's actually a fine addition to this outing and it's great having him back, though his much-talked about fight with his younger self is far too brief in the first act; also a solid addition is Oscar-winner J.K. Simmons, who provides a little levity to the proceedings as a rescued cop with ties to our time-traveling pair. The entertaining but vapid "Terminator: Genisys" is a serviceable action film with some impressive visuals, but in terms of the whole Terminator time-line, it struggles from being obsolete.

Magic Mike XXL - C

Rated R, 115 minutes

I don't believe there's anything I could say to dissuade any female (or anyone interested in this sorta thing) from seeing the male stripper, uhm, I mean "male entertainer" movie "Magic Mike XXL," the dull, pointless sequel to the blockbuster 2012 drama "Magic Mike." I can tell you that if you're going for the entertainment value, you won't be disappointed, but stripped down there's little else to offer, as if that matters to its primary audience. Picking up three years after Mike (Channing Tatum, buff and back for more) bowed out of the stripper life, "Magic Mike XXL" finds the remaining Kings of Tampa (including Joe Manganiello and Matt Bomer, among others) likewise ready to throw in the towel. Yet they want to do it their way with last blow-out performance at a Myrtle Beach Stripper Convention (who knew), with Mike sharing their spotlight. Along the way, the guys learn some new moves and shake off the past in surprising ways. Directed by newcomer Gregory Jacobs and co-written by Tatum and Reid Carolin, "Magic Mike XXL" is more of the same beefcake and peppered with some crowd-pleasing moments that's sure to make the female set very, very happy; Manganiello has by far the movie's most memorable scene, involving Cheetos and bottled water though the movie could've used more of this fun energy. In between these showier moments, the flimsy, thin story offers less magic and inspiration that the first one had, mainly since it's missing charismatic co-star Matthew McConaughey and Oscar-winner Steven Soderbergh as director, who produces and handles the photography this time out. Jada Pinkett-Smith fills in for McConaughey this round as MC, and while she's good, she lacks the swagger of the blonde Oscar-winner. Amber Heard is around as the love interest, but she and Tatum have little screen time or chemistry, and of the large cast, somehow comedian Donald Glover of "Community" fame made the cut as a junior league stripper assistant (it's as bad as it sounds), woefully miscast and misplaced, though keep an eye out for ex-football player and current talk show host Michael Strahan in one risqué, eye-popping scene. The last act, along with the disappointing final set, goes on much too long, and while "Magic Mike XXL" delivers the goods onstage, there's little to go on here in terms of story or characters: it's all style and little substance, but its target audience won't care about any of that. If you're really interested and want to check out "Magic Mike XXL" (and I'm sure many will) then go for it, but it lacks the spark and charm of the first one.