Digging for Fire - B

Rated R, 85 minutes

"Digging for Fire" is one of those small, independent gems of a movie that explores relationships in a familiar but insightful way. The well-acted, low-budget dramedy is well-cast, funny and explores what happens to a relationship when the unexpected happens. The film follows the discovery of a bone and a gun which sends husband and wife Tim and Lee (Jake Johnson and Rosemarie DeWitt), each full of doubts about their future and anxiety about the present, on separate adventures over the course of a weekend. Directed, produced and co-written (along with lead actor Johnson from the TV show "New Girl"), by Joe Swanberg ("Drinking Buddies"), whose star is on the rise, "Digging for Fire" is a familiar but affecting, often funny tale of relationships and marriage. The proflic Swanberg is becoming the next, low-budget Christopher Guest, as he continues to make small, quality films; his usual themes and cast are in place in "Digging," and he mines similar themes from his other movies, this time about a couple who take a short sabbatical from each other to discover if they truly need each other. The great cast, especially Johnson and DeWitt, are wholly believable, and watch for a stellar supporting cast including Orlando Bloom, Mike Birbiglia, Chris Messina, Brie Larson, Sam Rockwell and Anna Kendrick, among many others, who help in the discovery. Of course, the part with the bones and digging is just a metaphor for self-discovery, and the backdrop for some the adventure that our relationships take us on (in this case, a pool party, a fight in a restaurant, and lots of dirt). At only 85 minutes, "Digging for Fire" is a fun and quick exploration, and as you wade through the last predictable act, you have a sense of where it's, but it's a satisfying, amusing look at what it takes for marriages and relationships to survive.

We Are Your Friends - C

Rated R, 96 minutes

If you've been clamoring for a movie about electronic dance music (EDM), then the slick but vacuous drama "We Are Your Friends" may be for you. Unsurprisingly, the upbeat music, and not the stale drama, is the most memorable thing about the dull movie. Cole (Zac Efron), a struggling 23-year-old DJ in the EDM scene, dreams of becoming a major record producer. When an older DJ, James (Wes Bentley), becomes his mentor, Cole connects with James' girlfriend, Sophie (Emily Ratajkowski). Cole's relationship with Sophie blossoms and breaks the bond with his mentor, which forces Cole into difficult decisions about his future. "We Are Your Friends," directed and co-written by documentary filmmaker Max Joseph in his feature film debut, it's set against the backdrop of the L.A. EDM nightlife scene and mainly features a bunch of pretty people dancing to catchy music, with as much substance as those seemingly manufactured beats. While the premise is interesting, after all and seriously speaking - few films have been made about EDM - the cast isn't strong enough to believably pull off the story. The first major mistake was casting an untested model, uhm I mean actress like Ratajowski, best known from the "Blurred Lines" videos and a tiny role as Ben Affleck's onscreen mistress in "Gone Girl," as the lead. In other words, she's lovely but a terrible actress, and her huge lips are a big, big distraction, even with fellow lead and eye candy, Efron, who's range is rather limited himself to striking some poses. I had a hard time with the notion that 1) a pretty boy like Efron's character in such party boy mode would have no serious girlfriends, 2) that he would hang around such lunkheads and 3), which was the most obvious thing in the script, that after a little time, he and Ratajowski's character would get it on. I lost interest in the banal storyline quickly, which only seems to scratch the surface of issues such as friendship and loyalty, and without some of the energizing music, this thing would be a total bore. Unless you are really, really into EDM (and/or Efron), then I wouldn't waste my time with the dull, contrived mess that is "We Are Your Friends."

No Escape - C-

Pierce Brosnan and Owen Wilson

Rated R, 101 minutes

"No Escape" could very well apply to those trapped inside the movie theater watching the mildly entertaining yet bland and highly improbable new thriller of the same name. Given the charming leads, it has a certain enjoyable intensity to it, but it also can't hide its immense predictability or mediocrity. The movie centers on an American businessman (Wilson) as he and his wife (Lake Bell) and family settle into their new home in Southeast Asia. Suddenly finding themselves in the middle of a violent anti-American political uprising, they must frantically look for a safe escape as rebels mercilessly attack the city. Directed by John Erick Dowdle ("Quarantine") and co-written by Dowdle along with his brother Drew, "No Escape" is a paint-by-numbers, contrived drama that could've easily been resolved with like, don't go. It's also a case where the movie is simply mishandled and a wrong fit for both director and stars; the Dowdle brothers are used to a different type of intensity with horror films such as "Devil" (a scary, underrated horror flick that got a bad rep due to its producer, M. Night what's-his-name), and both Wilson and Bell shine better in much lighter comedic fare, all of which hurts the film. There are a couple of brutal, very bloody scenes that are too dark for this type of thing, and I also had a hard time taking Wilson and Bell seriously, even when they're under considerable duress (namely getting shot at or beat up), which happens frequently from start to finish; I'm thankful the theater was dark because I kept inappropriately smiling at the wrong times thinking of the better roles that they've had in the past. Former "007" Pierce Brosnan has a nice supporting role here as some sort of operative that he's made a career of playing, and he easily steals scenes mainly because he's better at the whole shoot-em action piece than either of our likable but out-of-place leads. "No Escape" starts out OK, but the longer it goes, the more implausible and ridiculous it becomes, and I found it hard to believe that a common couple like this had the chops to really make it, and that he would be sent to such an unstable country in the first place. If you really believe there's no escape with "No Escape" then this "Argo"-wannabe is just for you though you'd be better off watching that 2012 Best Picture winner again, a much more satisfying, fact-based experience that will also save you a few bucks.

Dark Places - C-

Rated R, 114 minutes

There are some place you would rather not go to, and the dull, depressing new thriller "Dark Places" is one of them. In spite of an intriguing story and talented cast, you might not care much even after this muddled mystery is revealed. 25 years after testifying against her brother (Tye Sheridan/Corey Stoll) as the person responsible for massacring her entire family, a haunted woman (Charlize Theron) is approached by a secret society called "The Kill Club" that specializes in complex, unsolved cases. Looking to satisfy their morbid curiosity, the group begins its own inquiry about the case, believing that Libby's brother is innocent. To help them, Libby must unearth painful memories of the event and learn that her past may not be what it seems. Directed and written by Gilles Paquet-Brenner and based on Gillian Flynn's ("Gone Girl") best-selling mystery novel, "Dark Places" is a lackluster, downbeat whodunit that lacks the twisted fascination of Flynn's novel. Though it starts off well, many may lose interest in its sluggish, slow-as-molasses middle act, relying on an excessive amount of flashbacks to tell its story, and most depressing is the update on many of the living characters. By the time the real mystery is revealed, with a good 25 minutes of movie left, it may elicit a shrug or two instead of any real shocks. The always lovely Theron does her best with the material, and a talented supporting cast including Sheridan, Stoll, Christina Hendricks ("Mad Men") and Chloe Grace Moretz is wasted under the uneven storytelling. There are a handful of intriguing moments, but the deeply unsatisfying thriller "Dark Places" won't hold your interest.

Cop Car - B

Rated R, 86 minutes

Kevin Bacon

The independent, low-budget thriller from Jon Watts is a nice late summer entry that simmers with badness, especially in a delightfully evil performance from "The Following's" Kevin Bacon as a corrupt sheriff. When two good-natured but rebellious young boys (newcomer James Freedson-Jackson and Hays Wellford, both excellent here) stumble across an abandoned cop car hidden in a secluded glade they decide to take it for a quick joyride. Their bad decision unleashes the ire of the county sheriff (Kevin Bacon) and leads to brutal consequences. Directed and co-written and produced by Watts, the seedy and fun "Cop Car" is a flawed but compelling thriller from newcomer Watts that starts out with an innocent joy ride that rides right into a very dangerous situation involving murder, guns and drugs. The movie brims with a nice, low-key and cat-mouse intensity that hasn't been seen in awhile, particularly the climax, which is well-choreographed; it's also well-acted in a nice, seedy turn from Bacon as the less-than-nice sheriff whose bad choices have finally caught up with him, even more memorable are the superb turns from newcomers Freedson-Jackson and Wellford in their debut film. Initially, things are playful as the boys take a joyride, then turn deadly when the sheriff begins to catch up with them and taught them. The script, with a muddled story that doesn't fully explain the sheriff's situation and a too ambiguous ending, lack the efficiency the rest of the film has, but the otherwise smart thriller "Cop Car" is a tense, entertaining ride. Definitely worth a look for your late-summer entertainment.

The Diary of a Teenage Girl - B

Rated R, 100 minutes

The bold yet absorbing new independent dramedy "The Diary of a Teenage Girl" is a frank, often dark coming-of-age story that isn't for everyone, but will still resonate for those who see it.  Like most teenage girls, 1970's San Franciscan Minnie Goetze (British newcomer Bel Powley in a breakout role here) is longing for love, acceptance and a sense of purpose in the world. Minnie begins a complex love affair with her mother's (Kristen Wiig) boyfriend, Monroe Rutherford (Alexander Skarsgård), while aspiring to be a comic book artist. Her honest journey of self-awakening and discovery is filled with many highs and lows, all helping her transition to adulthood. The superbly acted, compelling "The Diary of a Teenage Girl" is written and directed by Marielle Heller and based on Phoebe Gloeckner's best-selling 2002 graphic novel "The Diary of a Teenage Girl: An Account in Words and Pictures." It's an honest, unconventional look at teenage years of rebellion told from the female perspective, and it certainly has a layered, graphic complexity to it, not to mention loads of sex, drugs, flirtation with lesbianism and a short stint of homelessness. The highlight of the film is the superb acting, especially from the talented Howley, in a memorable breakout role; her affecting turns ground the film well and she often reminds of a young Janeane Garofalo. Minnie's affair with the much-older Monroe (Skaarsgard, very good here and different from his usual pretty boy roles) is at first creepy and off-putting, but later only underscores Minnie's desire for sex and to be loved, which she doesn't get from her distant, divorced parents (Kristen Wiig and Christopher Meloni), and only leading to further experimentation. "Teenage Girl" is set in the 1970's free-love, free-wheeling California, but it could be any time, as teens today experience and experiment with many of the same things Minnie did, yet maybe in different forms. Though "Diary" is often redundant and excessive (there's quite a bit of sex, even for a coming-of-age movie), it has some fun with the animated, comic book sequences that give light to some of Minnie's feelings. "The Diary of a Teenage Girl" is an absorbing, fresh take on teenage life that the young set may appreciate more, and Howley's strong, breakout turn is one to be seen.

American Ultra - C+

Jesse Eisenberg and Kristen Stewart

Rated R, 96 minutes

The best way to describe the uneven but often fun new action comedy "American Ultra" is "Pineapple Express" meets Jason Bourne. Part comedy, part thriller, part spy caper, it's an unusual, mildly enjoyable mash-up that sometimes works, and often doesn't. Mike (Jesse Eisenberg) is a seemingly hapless and unmotivated stoner whose small-town life with his live-in girlfriend, Phoebe (Kristen Stewart), is suddenly turned upside down. Unbeknownst to even him, Mike is actually a highly trained, lethal sleeper agent with a secret past that quickly comes back to haunt him, Mike is thrust into the middle of a deadly government operation and is forced to survive action-hero style. Directed by Nima Nourizadah ("Project X") and written by "Chronicle's" Max Landis (son of famed director John Landis), the well-cast and bloody thriller "American Thriller" is a messy mash-up that reminds of making a smoothie you've never made before and hope it ends up tasting good. When in doubt, always throw in chocolate, which seems to make all the other unusual flavors go down a little better. The "chocolate" here is the excessive amount of blood and weapons that tends to dominate the film, overtaking both good and bad elements of the movie, and director Nourizadah doesn't seem to know how to tone it down a little. The good: for the record "Twilight's" Stewart, who actually smiles a little here, and "The Social Network's" Eisenberg have some genuine chemistry making for a decent action pairing, showing that with a little training just about anyone, even a stoner, can transform into a tough action hero, killing with common items such as a spoon or dustpan. Even better is the solid supporting cast, including "Nashville's" Connie Britton, Tony Hale (a play on his "Veep" assistant role) and especially memorable character Walton Goggins of "Justified" fame in another of his creepy, off-kilter parts. The bad: the muddled plotting, which hardly makes sense and isn't fully explained, and the film's central premise seems a little unnecessary given the resources used to hunt a deadly stoner (yes, I said that) are far more dangerous than the person himself. More so, (mis)casting a lightweight, annoying actor such as Topher Grace as the film's chief antagonist is the film's biggest mistake, hurting the film to the point it's difficult to really enjoy the movie, an unfortunate move for both the movie and for a likable but hardly believable actor. "American Ultra" is very ambitious and all said once the mash-up is over, you're gonna remember the blood and action scenes more than anything else. Just be careful with that spoon, you might hurt someone.

Hitman: Agent 47 - D

Rated R, 90 minutes

It's late August after most of the summer blockbusters have died down, not to mention it's based on a popular video game. Those two things don't bode well for the dumb new thriller "Hitman: Agent 47," a bloody, bad spectacle that would be completely forgettable if not for the shiny red Audi RS7 that all but steals the movie and something that could be a fun guilty pleasure in the right mood (i.e. a few adult drinks). An elite assassin and killing machine known only as Agent 47 ("Homeland's" Rupert Friend) is hired by a group known only as 'The Organization' is ensnared in a political conspiracy, which finds him pursued by both Interpol and the Russian military as he treks across Russia and Eastern Europe. He teams with a young woman named Katia (Hannah Ware) who may have the secret to defeating Agent 47's chief foe, a mega-corporation who wants to create an army of super-killing machines far more powerful than 47. Directed by newcomer Aleksander Bach in his debut movie and with a story by producer Skip Woods, who also wrote and produced the first "Hitman" movie in 2007 (more on that later), "Hitman: Agent 47" is slick, fast and stupid, though it proving that a few fast-paced action scenes doesn't always make for a great movie. It's really a few silly action sequences strung together by some muddled story about the girl's father (the criminally underrated character actor Ciaran Hinds, who doesn't belong here) and the two being hunted down by some other deadly, superhuman agent (Zachary Quinto). Quinto is a decent actor (and note to his agent - this is not "Star Trek") but he's wasted under the slack direction from Bach, who obviously gives preference to the action scenes and blood, some of which is fun, particularly a good chase sequence in a parking garage with the Audi. However, bland leads Friend and Ware, in stiff Milla Jovovich-style performances, really hurt the movie's chances of being taken seriously, and it doesn't help they spout some horrible dialogue this side of "Resident Evil." "An agent's advantage is not his body. It's his mind," he says as he turns around to shoot somebody in the head. Agent 47 also asks "Do you know why you are still alive? Because I chose not to kill you." Well, duh. On that note, going into this film, I was initially under the (false) impression this was a sequel to the 2007 film "Hitman" - based on the same video game - starring the talented Timothy Olyphant, and I kept wondering why Olyphant wasn't in this film too. Then, I realized quickly my mistake and this wasn't a sequel at all, but a new film. Go figure. The vastly unsatisfying, dull "Hitman: Agent 47" is peppered with a few good action scenes and splatters of blood, but you might get more out of the video game - even gamers might be disappointed on the movie's very loose adaptation of the game - but maybe they'll be able to decipher what the heck that confusing end-credits stinger scene meant. 

Straight Outta Compton - B

Rated R, 145 minutes

Jason Mitchell as Eazy-E

The overlong but entertaining, often fascinating drama "Straight Outta Compton" is part bio-pic, part (rap) music history lesson, detailing the rise of the gangsta rap group N.W.A. and memorably captures some of the magic created by the group. Well-cast and with generous helpings of the group's music, it's a music history lesson that crams too much into one movie, but at least it's a lesson you can bounce to (and you can easily see where the current hit TV show "Empire" has its roots). In the mid-1980s, the streets of Compton, California, were some of the most dangerous in the country and five young men - Dr. Dre (Corey Hawkins), Ice Cube (O' Shea Jackson Jr.), Eazy-E (Jason Mitchell), MC Ren (Aldis Hodge) and DJ Yella (Neil Brown Jr.) - translated their experiences growing up into brutally honest music that gave an explosive voice to a silenced generation and changed the music culture through their gangsta rap group N.W.A. Directed by F. Gary Gray ("The Italian Job") and co-written by Jonathan Herman and Andrea Berloff, the enjoyable, energetic and overly ambitious "Straight Outta Compton" is a must-see for music lovers, especially those of late '80s/early '90s gangsta rap, something that seems like ages ago but feels like yesterday. The movie benefits most from its music and a memorable cast who performs it well, particularly from the Dre-Cube-Eazy trio that the movie focuses on; it's worth noting that Cube's real life son and doppleganger plays him well, though Mitchell and Hawkins are both solid as Eazy and Dre, respectively, not to mention another stellar supporting turn from Paul Giamatti as their savvy manager, Jerry Heller, who even with some questionable business practices knew how to market the guys and seemingly believed in them. "Compton" could be split into two parts: the first half detailing the rise of the group, and the second half dealing with the group's problems as a result of their fame, with the first half more memorable than the second. "Compton" bursts with energy in its musical performances particularly in this fun, fascinating first act, and it's a treat reliving some gangsta rap history, particularly one nasty concert in Detroit. The second half of "Compton" goes on much too long, feeling redundant as it delves into the group's fights and some of their other collaborations, giving too much footage to the Dre-Suge Knight (played by R. Marcus Taylor, he's portrayed as a good businessman and a big bully) partnership with too little time devoted to Eazy's unfortunate illness, played as another sad footnote in the group's history, which also includes Snoop Dogg and Tupac, both briefly portrayed here. All said, it's about a half-hour too long, but "Straight Outta Compton" with some well-staged musical numbers and memorable performances, is still pretty dope. Definitely worth a look.

The Man from U.N.C.L.E. - C

Rated PG-13, 116 minutes

The dull new Guy Ritchie-directed movie "The Man from U.N.C.L.E.," a remake of the 1960's TV series of the same name, plays on the cinematic obsession with spies; this junior-league James Bond-esque effort is modestly entertaining, but also blandly overstylized and hurt by a couple of crucial miscastings. Set against the backdrop of the early 1960s, at the height of the Cold War, the movie centers on CIA agent Solo (latest Superman Henry Cavill) and KGB agent Kuryakin ("The Social Network's" Armie Hammer). Forced to put aside longstanding hostilities, the two team up on a joint mission to stop a mysterious international criminal organization, which is bent on destabilizing the fragile balance of power through the proliferation of nuclear weapons and technology. Directed by Ritchie ("Snatch") and co-written by Ritchie and Lionel Wigram, "The Man from U.N.C.L.E." is a decent but mediocre effort at updating a classic TV series that most under the age of 40 probably won't remember much about. Ritchie did this thing better with the "Sherlock Holmes" makeover, and while those films had a similar style, it benefited from the more interesting Robert Downey Jr. In "U.N.C.L.E.," the makeover is a mixed bag, with the premise of having an American and Russian spy much less novel than it was in the 1960's at the height of the Cold War, here it's simply a plot contrivance given little explanation, and the casting much less effective. The handsome Cavill is a serviceable Solo, though Hammer is miscast as Kuryakin, and he's not a strong enough actor to pull off a believable Russian accent; as well, the film's femme fatale villain is played by the lovely but much too-young Australian actress Elizabeth Debicki, in over her head for this. Ritchie adds heavy, often annoying doses of style (is there a reason certain scenes have to be told twice just to withhold information from the audience - for this type of thing we should be in on it) and handles the action well, but the plotting is muddled and the characters aren't shaded well at all, and for all the time spent trying to stop the bad guys, the climax is very, very brief and anti-climactic, in that if you blink you might miss it. Rounding out the cast of "U.N.C.L.E" is Alicia Viklander (a terribly written role), Jared Harris and Hugh Grant as the spies boss Alexander Waverly, whose role is considerably minimized and changed somewhat from the TV series. Featuring a few fun moments and spry energy that never really develops into anything substantial, the stylish but toothless "The Man from U.N.C.L.E." is an lackluster, weaker spy effort that doesn't do the classic TV series justice. Good for a few minutes, you're better off seeing the new "Mission: Impossible" effort, who does this thing much better.

The Gift - B

Rated R, 108 minutes

Your past can come back to haunt you, especially if you were a meanie. That's the basic premise of the familiar but taut, well-made psychological thriller directed, written by and starring actor Joel Edgerton in his feature debut as a director. It's an auspicious directorial debut that begs the question, among many: do you really know your partner's past? Simon (Jason Bateman) and Robyn (Rebecca Hall) are a young married couple whose life is going just as planned until a chance encounter with an acquaintance named Gordo (Edgerton) from Simon's high school sends their world into a harrowing tailspin. Simon doesn't initially recognize Gordo, but after a series of uninvited, strange encounters and mysterious gifts prove troubling, a horrifying secret from the past is uncovered after more than 20 years. Serviceably creepy but extremely tense and well-paced and acted, "The Gift" is solid thriller that's less horror and more along the lines of "The Hand that Rocks the Cradle," "Fatal Attraction" or to some degree, last year's stellar thriller "The Guest." Though some standard conventions are used - dead animals and awkward, unannounced visits that eventually turn deadly (and whatever you do, don't look in the bathtub) - "The Gift" still gets in your head with Edgerton's fine, unnerving pacing that takes its time, nicely shaded characters and a handful of nice twists. The slightly disappointing ending doesn't quite achieve the payoff it builds up to be, but "The Gift" has some fun getting there, and the leads all perform it nicely: Edgerton's weirdo, forgotten castoff, Hall's compassionate wife who has had some rough patches of her own, and the real acting surprise, Bateman as the guy who isn't as nice as you (or even he himself) might think. Bateman, who usually does low-brow, crass comedies of late, is quite believable in a very serious role; maybe it's those comedies and everyman appeal that has you fooled into believing he's such a nice guy. Much like the characters, the darkly enjoyable thriller "The Gift" is flawed and something we've seen before, but it's a memorable, late-summer present to audiences and something different than the standard action film or comedy. Definitely worth a look.

Fantastic Four - D+

Rated PG-13, 106 minutes

The "Fantastic Four" series has always been the awkward stepchild of the Marvel Universe, primarily because it's the lone adaptation held by 20th Century Fox, who has been unable to develop a truly great, smart story around it. The new contemporary reboot, the second in 10 years, is no exception and still can't seem to get it right: while this downbeat, dull version is an improvement in some aspects of casting and visuals, the bland, dumb story never really gels into any sense of coherency or style on an "Avengers" level. This new version centers on four young outsiders - Reed (Miles Teller), Johnny (Michael B. Jordan), Sue (Kate Mara) and Ben (Jamie Bell) who teleport to an alternate and dangerous universe, which alters their physical form in shocking ways, as well as transforming another colleague, Victor Von Doom (Toby Kebbell) into an exceedingly dangerous, evil being. Their lives irrevocably upended, the team must learn to harness their daunting new abilities and work together to save Earth from a former friend turned enemy. Directed and co-written by Josh Trank ("Chronicle"), "Fantastic Four" is far from fantastic on most levels, bland and mindlessly enjoyable, but its muddled story (I'm still trying to figure it out) never fully takes off. The first solid hour is spent on backstory and leads up to one of the silliest climaxes of recent memory, never fully explaining Dr. Doom's real intentions on taking over the world - it has to do with some alternate planet/life form sucking all of the life from Earth. All in all, it's an unfortunate mess and a considerable disappointment given the time and funds spent casting some talented actors and creating some serviceable special effects, both of which are an improvement over the first two cheesy "FF" films. Teller and Jordan are in particular likable actors, and they also do a decent job with recreating "The Thing" but this "Fantastic Four" is ruined by an awful script, Trank's terrible direction (he is over his head here, and is no Joss Whedon), lack of chemistry between the four leads and slow-as-molasses pacing; the boring first act in particular may put you to sleep, with a baffling climax that gets sillier by the minute, with no help from the bland Kebbell of "War Horse" and "Dawn of the Planet of the Apes," who is woefully miscast as the dynamic Dr. Doom. This all seems one long set up for future films, but "Fantastic Four," which has a few entertaining moments but still a big misfire, will likely go the one-and-done "Green Lantern" route. On that note, this is easily the worst superhero film since that Ryan Reynolds stinker, and one to skip for sure.

Ricki and the Flash - C

Rated PG-13, 102 minutes

Meryl Streep

Oscar-winning actress Meryl Streep is no one-hit wonder and we know by now she can carry a tune (heck her last Oscar nomination was for a musical) and she does so again as a rock singer in the energetically predictable dramedy "Ricki and the Flash." Considering the talent involved, it's a disappointment, yet Streep's fabulously blowsy performance rises above the flat storytelling that rings with contrivances. Ricki (Streep) chased her dreams of becoming a famous rock star by abandoning her family. She gets a last chance to put things right when her ex-husband Pete (Oscar-winner and Streep's "Sophie's Choice" co-star Kevin Kline) asks her to visit Indianapolis and help their estranged daughter Julie (Streep's real daughter Mamie Gummer) through a difficult time. Directed by Oscar-winning director Jonathan Demme ("Silence of the Lambs"), written by Oscar-winner Diablo Cody ("Juno"), "Ricki and the Flash" is certainly buoyed by the ever-game, ever-watchable Streep, the most memorable thing here (except for the annoying heavy, dark eye shadow that only a true rock queen like Pat Benatar can rock), and aside from the fun musical numbers, Demme's direction and Cody's script ring some false notes and only scratches the surface of some serious family dysfunction. It runs a similar parallel to the much more memorable, affecting Streep movie 1990's "Postcards from the Edge" about a troubled artist with family issues that had Shirley MacLaine as her mother, except this time Streep takes on the distant mother role, though the problematic story never fully connects the dots: Mom runs out on family and is absent, what else has happened, and why does she run back so quick? The story never fully brings it out, though there are some nice moments, especially in seeing Streep and her real daughter Gummer fuss a little, some quaint Streep-Kline moments and of course the romance with '80s heartthrob Rick Springfield, looking every bit his age and then some. The best part of "Ricki" comes as no surprise: the music and having Streep strum her guitar, belting out some nifty classic tunes from Springsteen, U2 and even Lady Gaga that makes you want to shout "go Ricki, go Ricki!" As enjoyable as all this is, "Ricki's" story and characters aren't fleshed out, with a climax so pat and predictable that resolves absolutely nothing of the family drama and really only an excuse for Streep to hop back onstage one last time. "Ricki and the Flash" is a likable one-note ditty and Streep's always a treat, but most everything else around her is far from wondrous.

Shaun the Sheep - B

Rated PG, 85 minutes

If you enjoyed the fun "Wallace & Gromit" TV show and Oscar-winning shorts along with the "Chicken Run" movie, then you'll get a kick out of the clever and amusing "Shaun the Sheep," which is based on the British TV show, and a spinoff of "Wallace & Gromit" (Shaun was first introduced there). The sprightly film, with the same type of stop motion animation and minimal spoken dialogue, is familiar and predictable but the young ones should get a kick out of it. When Shaun (Justin Fletcher) decides to take the day off from Mossy Bottom Farm and have some fun, he gets a little more action than he bargained for. A mix up with the Farmer (John Sparkes), a caravan, and a very evil animal containment officer (Henry Burton) lead them all to the Big City and it's up to Shaun, Bitzer (also Sparkes) and the flock to return everyone safely to the green grass of home. Co-directed and written by animators Richard Starzak and Mark Burton and based on Nick Park's (W&G) creation, the British made, Aardman Animations production "Shaun the Sheep" is energetic, original and altogether terrific fun for the entire family. If you're familiar with "Shaun" and "W&G," then you already know about the minimal dialogue, even by the human characters, with it all centered around the action and hijinks Shaun and his flock get into; if you're not, it may take you a few minutes to acclimate yourself to that notion, but after that you'll find yourself laughing out loud at the colorful characters and story. Admittedly, this works much better in shorter form, as either a short film or TV episode, and stretching it to feature length, is well, a bit of a stretch and feels long even at 85 minutes, but it does have enough merriment to keep you entertained (my favorite: the flock pretending to be humans in clothes, and some pigs, those dirty rascals, who steal a couple of scenes), with fun episodes in a hair salon, a restaurant and a jail cell. The catchy songs on the soundtrack, "Feels Like Summer" and "Life's a Treat," will also stick in your head after it's over.  On that note, you'll leave with a big smile on your face after the amusing and clever "Shaun the Sheep," and maybe want to catch more hijinks in the BBC TV series on DVD.  Definitely recommended for children and families.