The Walk - B

Joseph Gordon-Levitt as Philippe Petit

Rated PG, 123 minutes

Since I was a boy, I have been absolutely terrified of heights. Unlike daring and audacious French high-wire artist Phillippe Petit, I could never walk a high wire. The fascinating, occasionally exhilarating Robert Zemeckis film "The Walk" details Petit's obsession in achieving the impossible: traipsing across the freshly constructed World Trade Center aka The Twin Towers. Most of it works well, with the stellar visuals more memorable than the story, which lacks complexity and heft. As a boy, Philippe Petit dreams of performing daring feats for dazzled crowds. As an adult (Joseph Gordon-Levitt), his life's ambition comes true when he becomes a high-wire artist who stares death in the face with every step. The daredevil, with plenty of help from his accomplices, including a his mentor Papa Rudy (Ben Kingsley) devises a plan, of which he calls "the coup," to walk on a tightrope attached to the north and south towers of the World Trade Center. Against all odds, Petit performs the seemingly impossible stunt on Aug. 7, 1974. Directed by Zemeckis, who also co-wrote its screenplay with documentary filmmaker Christopher Browne, "The Walk" isn't a perfect execution but still an engaging, even romanticized view of Petit's story, one that has been covered before, but never before in glorious 3D. On that note, "The Walk's" technical details dazzle more than the cast or story; Oscar-winner Zemeckis of "Cast Away" and "Forrest Gump" fame shows his skill with this, though occasionally heavy-handed here, adding in needless special effects and CGI in early shots that don't need them, yet better used in the climactic Twin Towers shots, the chief highlight of the film. The acting and script are less successful, with the dynamic Joseph Gordon-Levitt an odd casting choice; the lithe American actor captures Petit's physicality though a European actor would've better captured his spirit, especially his arrogance, charm and rogue appeal. However, the biggest flaw is having Gordon-Levitt's Petit narrate the story (which truncates details and adds composite characters) from atop the Statue of Liberty with the old New York City skyline hovering in the back, an unnecessary, gimmicky choice that interrupts the film's narrative flow and overlooks some important details, such as the swaying nature of the Towers.  Speaking of skyline, the most memorable cast member is the Twin Towers in realistic CGI form, which cast a haunting yet beautifully intimidating glow, particularly in the final moments, and while it doesn't overtly discuss 9/11, Petit's final line is an obvious reference. The enjoyable, idealized "The Walk" has a worthy story but would've been more compelling with some cast and story changes. If you haven't seen the excellent Oscar-winning 2008 documentary "Man on Wire" detailing the actual event, now would be a great time to do so and would make a great companion piece to this film.

Hotel Transylvania 2 - C

Rated PG, 89 minutes

You become extremely hesitant when comedy veteran Adam Sandler grabs his pals to make an animated movie, thinking it might be "Grown Ups" in comic form. Admittedly, Sandler and company are a little - gulp - easier to take in animated form, and in 2012 "Hotel Transylvania" became a big hit, so he brought them back for more in the sweet but flimsy, scattershot "Hotel Transylvania 2," which offers little surprises from the first. Hotel Transylvania has gone through several changes since Johnny (Andy Samberg) first stumbled onto it: the hotel is now open to human guests, Mavis (Selena Gomez) and Johnny have a young son named Dennis (Asher Blinkoff), whose lack of any vampire abilities worries his grandfather, Dracula (Sandler). When Johnny and Mavis consider moving out of Transylvania to raise Dennis elsewhere, his "Vam-pa" puts him through "monster-in-training" hoping he gain his fangs to become the monster that Dracula has always hoped he'd be. Directed by Genndy Tartakovsky, who directed the first film, and co-written by Sandler and his "SNL" cohort Robert Smigel, the thin "Hotel Transylvania 2" should most please the young ones, who'll enjoy the cute monsters but likely won't get most of the trademark Sandler potty humor: it's essentially a string of sight gags and non-sequitur humor that would make Seth MacFarland very happy. Much like a "Family Guy" episode, it's a little all-over-the-place in terms of storytelling and stuffed with many familiar voices from Sandler's crew: Kevin James (Frankenstein), David Spade (The Invisible Man), Steve Buscemi (Wolfman) as well as Samberg, not to mention comedy legend Mel Brooks as Dracula's father (is that really possible?) who's an inspired choice given his "Young Frankenstein" roots but he's given little do, appearing only in the last act for a few minutes (and there are many other fine comics such as Rob Riggle, Megan Mullally, Nick Offerman and Keegan Michael-Key who are wasted as well). Much like a live-action Sandler film, you throw a bunch of stuff out, most of it doesn't work, with only a handful of truly funny jokes or gags that really work (the zombie bell boys and Blobby the green blob among them). The good thing, while it's not Disney it's also not tripe like "Grown Ups" or "Jack and Jill" so on that note, the sloppy, crowd-pleasing "Hotel Transylvania 2" is a harmless yet forgettable animated diversion. Call it a win of sorts for Sandler, who's live-action stuff has been tanking of late.

The Intern - C

Robert DeNiro is "The Intern"

Rated PG-13, 121 minutes

You're fired. The likable but forced new Nancy Meyers dramedy "The Intern" has two charming leads that will likely win over many, but don't fooled, it's a flimsy attempt to brown nose audiences into thinking a mediocre film is a great one. Jules Ostin (Anne Hathaway), the founder and CEO of a fashion based e-commerce company, agrees to a community outreach program where a senior, Ben Whittaker (Robert De Niro), will intern at the firm. Directed, written and co-produced by Meyers of "Something's Gotta Give" fame, the bland and unmemorable "The Intern" is so easy, contrived and predictable you'll know what's going to happen from the moment DeNiro's character steps into the successful internet start-up led by the driven but warm Hathaway. For one, few companies, especially the casual, youth-oriented one portrayed in the movie, would dare offer a "senior intern" program for senior citizens. Second, there's not many senior citizens that would likely want to participate anyway, reentering the workforce and being treated badly for nothing is not exactly a great way to spend their retirement. Meyers is a talented filmmaker, but the uneven storytelling hampers the film, not to mention much of it is not that funny. It veers into an unfortunate and unnecessary slapstick sequence mid film involving an email sent to the wrong account, and then turns extremely serious in the last act, but only then skimming the surface of a few pertinent issues in the workplace such as sexism and work-life balance along with personal ones such as infidelity and parental role reversal (I especially didn't care for the unrealistic viewpoint of marriage in particular - the "just stick it out and things will get better" viewpoint). DeNiro, in likable guy form here giving pointers to the younger fellas about how to dress and treat a lady, and Hathaway's career-driven family woman, are certainly appealing though the film loses some passion when they get all chummy late in the film talking about life and work. The real charmer here is the lovely but misused Rene Russo in a small part as DeNiro love interest, a masseuse with the capability of stirring some happy endings. "The Intern," with it's two charming, Oscar-winning leads, is another of those forgettable crowd-pleasers that nearly masks the fact that considering the talent involved, it's a disappointment.

Sicario - B

Emily Blunt

Rated R, 120 minutes

The term sicario means hitman in Spanish, though in the drug cartel wars, its hard to often tell who's hitting who. That's the premise of the tense, well-acted new drug cartel drama "Sicario," featuring an especially memorable performance from the always watchable Benicio del Toro, in fine form with shades of his Oscar-winning role from "Traffic." At the border between the United States and Mexico, idealistic FBI agent Kate Macer (Emily Blunt) is enlisted by a government official (Josh Brolin) to aid in a joint task force tracking down an anonymous drug lord. Directed by Denis Villenueve of "Prisoners" and "Incendies" fame and written by Taylor Sheridan, the taut, brooding thriller "Sicario" is a complex, powerful tale that's part psychological drama and part chilling revenge tale. Filmed on location in New Mexico, the dusty story is told from two perspectives: from Blunt's FBI agent, who's unsure of what exactly she's volunteered to help with, and from del Toro's, as a mysterious "advisor," a former drug cartel member seeking revenge. Acclaimed actor del Toro, his weathered, unusual look and beady eyes serving him well here, broods quietly on the sidelines in one of his more memorable turns, while Brolin chews scenery as an unconventional FBI agent heading the charge. The top-notch production has a few decent action set pieces and plenty of blood, particularly in the final, intense climax with a shocking end to it; the film's final exchange between del Toro and Blunt is one of the few false notes in the film, and I wish that ending had a little more shape to it. "Sicario" isn't perfectly executed and goes on a tad too long, but it's still a worthy, satisfying ride with solid turns from everyone, especially del Toro's memorable tough guy.

Sleeping With Other People - C+

Rated R, 99 minutes

"Sleeping With Other People" is a fun but typical rom com that spends too much time in foreplay and not actually getting it on. Considering the cast and plot, it could've been much crazier. A good-natured womanizer Jake ("SNL's" Jason Sudeikis) and a serial cheater Lainey ("Community's" Alison Brie), who lost their virginity to each other in college and run into each other in a love addicts meeting, form a platonic relationship that helps reform them in ways, while a mutual attraction sets in. Directed and written by Leslye Headland ("Bachelorette"), "Sleeping With Other People" is a predictable, modestly enjoyable look peppered with some humorous moments, but it's just a surface look at some real issues, including sexual addiction, cheating and serial relationships, none of which is explored fully. Harmless for sure, but the charming leads give it a good whirl or two, though Headland's plot structure, including the NYC local, other relationships, breakups and best friends, seem too well-worn; admittedly however, as Jake's best friends, comedians Jason Mantzoukas (Rafi from the TV show "The League") and Andrea Savage ("Funny or Die Presents") nearly steal the show, particularly some hilarious ad-libbing over the film's end credits you'll want to stay for. Considering that two of the movie's producers, Adam McKay and Will Ferrell, are known for their wild, over-the-top antics, "Sleeping With Other People" is a pretty tame affair, mostly a makeout session instead of the full cha-ching. Likable but thin and unsatisfying, the act in particular stumbles and if you're a fan of both Brie and Sudeikis from their other efforts, this might be for you, but "Sleeping With Other People" is hardly anything you'll feel guilty about the next morning.

Stonewall - D

Rated R, 129 minutes

Gay Pride Parades, as peaceful and fun as they usually are, have their roots in the bloody Stonewall Riots of 1969 in a section of Greenwich Village in New York City, and while these initial riots weren't near as much fun-loving as the parades are today, they gave a voice to the gay rights movement. The flat, unsatisfying new drama "Stonewall" is the backdrop for a fictional story set around the riots, and while the riots themselves have an important place in gay rights history, this slow, dramatically inert movie lacks that same passion and energy. The movie revolves around the 1969 Stonewall Riots, the violent clash that kicked off the gay rights movement in New York City. It centers on fictional gay character Danny Winters ("War Horse's" Jeremy Irvine), an all-American midwesterner who flees to New York, leaving behind his sister. He finds some unlikely friends in drag queens Ramona (Jonny Beauchamp, stealing many scenes) and Orphan Annie (Caleb Landry Jones) and becomes involved with the handsome, politically motivated Trevor (Jonathan Rhys Meyers) while becoming a part of the first real gay rights movement. Directed by Roland Emmerich, yes that Emmerich of "Independence Day" and "White House Down" fame (Emmerich himself is openly gay and a champion of the LBGT community, though maybe not after this terrible film), and written by Jon Robin Baitz, creator of the hit TV show "Brothers and Sisters," the second-rate "Stonewall," in spite of a few poignant moments, is a sluggish, uninvolving affair that is less concerned about the riots than its boring, fictional plot. The bland, British actor Irvine is not much help here, striking more poses than really acting, and the movie's lackluster story- including a terribly slow middle act that considerably drags the movie down - sheds little insight into the riots, which are given minimal bookended footage in the beginning and end of the movie. Newcomer Beauchamp steals the most scenes and gives the film some much needed life as a fictional drag queen, but the film unevenly blends fiction and true life, including real NYC gay rights activists Marsha P. Johnson (Otoja Abit), Ed Murphy (played by Ron Perlman - and played while Murphy was a bad guy), and Frank Kameny (Arthur Holden), all of whose efforts seem minimal compared to the fictional characters we care little about. The woefully dull "Stonewall" is a bit of a drag all right, and for all the wrong reasons. There's a better 1996 film with the same name with a similar theme, but much darker tone, that's a more worthy effort than this.

Captive - C

Rated PG-13, 97 minutes

For a story about redemption and finding purpose, the faith-based drama "Captive" sure lacks passion and inspiration. In March 2005, Brian Nichols (David Oyelowo) escapes from the Fulton County courthouse in Atlanta, during his trial involving a rape case. In the process of the escape he murders several people, including the judge presiding over his trial, a court reporter and a DEA agent. Nichols then kidnaps a young woman, Ashley Smith (Kate Mara) at her apartment to use as a hostage. Smith gets through this time inspired by Rick Warren's inspirational book "The Purpose Driven Life" while Nichols searches for redemption. Directed by TV director Jerry Jameson and written by Brian Bird based on Smith's novel "Unlikely Angel," the uninvolving, flat "Captive" holds its audience captive with a slow, sluggish story that doesn't seem to gel. On the plus side, for a faith-based film, it has a strong cast, decent production values and a story that doesn't force its beliefs down your throat. On the downside is really everything else about the movie, which lacks power and a strong emotional core. Even with some admirable qualities, this is still the sort of thing that's better on the small screen such as Lifetime or USA; while some may appreciate that it's an "edgy Christian movie" it's really a second-rate secular drama with a few faith-based elements that aren't even mentioned until late in the film. "Captive" lacks purpose and revelation and doesn't really find its footing (and the Oprah clip over the credits is well, very awkward). Do yourself a favor and do the right thing, and skip the unsatisfying and uninspiring faith-based drama "Captive."

Rosenwald - B

Unrated, 100 minutes

The next time you buy that mower or refrigerator at Sears, you are also buying into the legacy of one of its early leaders, Julius Rosenwald. The engaging, fascinating new documentary "Rosenwald" tells how the wealthy, Jewish CEO would become one of the most unlikely leaders in the Civil Rights movement and champions for racial equality  The movie Rosenwald's story, who never finished high school, but rose to become the President of retail giant Sears, Roebuck and Company. Inspired by the Jewish ideals of tzedakah (charity) and tikkunolam (repairing the world) and a deep concern over racial inequality in America, Julius Rosenwald used his wealth to become one of America's most effective philanthropists and civil rights pioneers. Rosenwald's philanthropy and social activism are not well known today, and not many people are aware that he gave away nearly $62 million of his fortune in his lifetime, and even more after he passed away in 1932. The understated but worthy "Rosenwald" is one of the more interesting documentaries of late, and a nice historical look at one of the civil rights movement's earliest and most unlikely pioneers. Directed and written by documentarian Aviva Kempner ("The Life and Times of Hank Greenberg"), "Rosenwald" is akin to walking through a museum of fascinating artifacts you didn't know existed. Rosenwald, who became super wealthy as head of Sears, would become inspired by Booker T. Washington to channel some of that wealth to build and support numerous African-American schools, shops and teachers throughout the South. Rosenwald funded numerous scholarships and grants to many, including many notable African-American intellectuals and artists such as W.E.B. Dubois, Marian Anderson, Langston Hughes and the late Julian Bond, among many others. "Rosenwald" is filled with many interviews from some of these scholars, as well as many historians, biographers, and family members, along with numerous photographs, illustrations and movies though Kempner overuse of stock footage is unnecessary (thanks, "Dr. Quinn, Medicine Woman"). The first part of the documentary spends too much time detailing Rosenwald's rise to business icon at Sears, and becomes more absorbing once it delves into Rosenwald's philanthropy, which is the heart of the film. "Rosenwald" is a low-key but important look at an important figure and may appeal most to historians, but it's still a satisfying portrait of someone whose influence is still felt today.

Pawn Sacrifice - B

Rated PG-13, 114 minutes

The late Bobby Fischer was a brilliant, gifted World Chess Champion whose arrogance made him one of sports hated figures well before Tom Brady came along. The new fact-based biographical drama "Pawn Sacrifice" is a gripping, well-acted tale about a chess legend that is a winning match. During the rise of the Cold War, American chess professional Fischer (Tobey Maguire) finds himself caught between two superpowers when he challenges the Soviet Union and its greatest player, Boris Spassky (Liev Schreiber) for the World Championship. Directed by Edward Zwick ("The Last Samurai") and written by Steven Knight ("Eastern Promises"), "Pawn Sacrifice" is an absorbing, character-driven thrill match even for those of us who aren't chess enthusiasts. The movie details Fischer's life from the time he was a young chess prodigy in Chicago to achieving world wide fame when he beat Spassky for the World Chess Championship in 1972, widely seen a match between two opponents in the Cold War. After a slow start detailing Fischer's early life, the movie picks up steam and becomes more tense as it focuses on the chess matches, which are the highlight of the film. As well, it's well-acted by Maguire, who hasn't had a great film in awhile and is both believable and affecting as the chess master who teeters between genius and madness; also strong is Emmy nominee Liev Schreiber of TV's "Ray Donovan," an inspired, fun casting choice as the intimidating Spassky, who's still alive. It's unsurprising that the movie truncates or leaves out many details of Fischer's personal and professional career, focusing on the the 1972 match that made him and the game of chess famous. Much like Fischer himself, the satisfying "Pawn Sacrifice" isn't perfect and will appeal most to those who enjoy this game, but it's superbly acted and brims with its passion for chess.

Everest - B-

Rated PG-13, 121 minutes

Elsa, the heroine in the Oscar-winning Disney movie gloriously sings "the cold never bothered me anyway." Well sorry Elsa, it does bother me and because of that, not to mention many other reasons, climbing Mount Everest is not a goal for me, but for many it is, which is explored in the exciting, true-life drama "Everest." Intense, thrilling and bittersweet, "Everest" isn't a perfect ride but it should please thrill-seekers and those of us who are just fine being part of the hospitality team. The movie tells the story of the 1996 Mount Everest disaster, when a number of simultaneous expeditions up Mount Everest resulted in the deaths of eight climbers. The groups were led by Rob Hall (Jason Clarke) and Scott Fischer (Jake Gyllenhaal) and included Beck Weathers (Josh Brolin), a Texas doctor, mailman Doug Hansen (John Hawkes) and journalist Jon Krakauer (Michael Kelly), who survived and would later write a novel of his experiences. Directed by Baltasar Kormákur ("2 Guns") and co-written by William Nicholson and Simon Beaufoy, the well-cast "Everest" is literally a gripping, edge-of-your-seat experience that like many real tragedies, is also an unfortunate one if you know how it ended; it's also a film that works much better as an action film than a character-driven one. On the up side, a slower first act is simply build-up for when the big storm blows in, making things an extremely treacherous and for some, a fatal experience; on that note the second act brims considerably with a bite-your-nails fervor. On the downside, not all of the characters are well-drawn - especially Gyllenhaal's - and with the exception of Emily Watson's base camp manager, the women (including Keira Knightley and Robin Wright in tiny roles) don't have much impact. The script is also focused on telling a straight narrative that doesn't seek many answers as to why it happened, though it's hinted at in the film, with some more obvious (the weather) than others (competing groups, too many people) nor does it fully answer the question posed in the film: why, besides the ultimate thrill, do these people want to do this? Handsomely and somewhat realistically shot (mostly on the huge Pinewood Studios sound stage in London, evident in a couple of scenes), "Everest's" most touching moment is an intimate one off the mountain: the final exchange between Hall and his expectant wife, waiting eagerly for him back home. A modestly satisfying, thrilling journey that will have you thankful for level ground and warmer temperatures, "Everest" is a solid action film that may leaving you wanting more, which you can explore in other accounts, both books (including Krakauer's, considered the best telling of the tragedy) and films made on the subject.

Maze Runner: Scorch Trials - C+

Rated PG-13, 129 minutes

There's been such a glut of YA adaptations in the last few years, they all tend to run together, using the same formula of a young, handsome lead being antagonized for the greater good of humankind. The 2014 hit "The Maze Runner" was one of the better of these, though it certainly has shades of "Hunger Games" and especially "Divergent," with its modestly entertaining but lackluster sequel, "The Scorch Trials" even more so. It's too long and lacks the creepy originality of the first one (no mazes here at all), but if you liked that one you'll enjoy this one too. In this chapter, Thomas ("Teen Wolf's" Dylan O'Brien) and his fellow Gladers search for clues about the mysterious and powerful organization known as WCKD. Their journey takes them to the Scorch, a desolate landscape filled with unimaginable obstacles. Teaming up with resistance fighters, the Gladers take on WCKD's vastly superior forces and uncover its shocking plans for them all. Directed by Wes Ball and written T.S. Nowlin and loosely based on James Dashner Young Adult novel of the same name, this overlong dystopian-inspired film is mildly entertaining yet muddled with an unoriginal sheen inspired by its more well-known predecessors, with a heavy dose of "Walking Dead" zombies (who really, really like to run, and very fast) for good measure. O'Brien grounds the film well, though his colleagues are given less to do this time around, and upstaged by the chief antagonists, Aidan Gillen from "Game of Thrones," and underrated character actress Patricia Clarkson, doing her stylish Kate Winslet "Divergent"-esque turn here as the villain with some ulterior motives. Fans of the novel series will also notice substantial departures from Dashner's book, and those changes make it more difficult to follow, especially in its uneven middle act, when it tends to wander and a variety of different colorful characters arrive on the scene; it's also unclear (and likely be explained in the next installment, which is already in pre-production) as to why so much time is spent hunting down these young folks across the desert. "The Scorch Trials," which goes on about 20 minutes too long, is really for fans for the book, who'll most appreciate the uneven film than the rest of us.

Black Mass - B+

Rated R, 122 minutes

The understated, slow-moving yet superbly acted true crime drama "Black Mass" is terrifying enough even without knowing that it's a real story, which makes it scarier. The fall movie going just got a lot heavier, and expect to see plenty of accolades for Johnny Depp's truly chilling performance as Boston crime lord James "Whitey" Bulger. The film depicts Bulger's story in the 1970s and '80s, who is a prominent leader of organized crime in South Boston and whose brother is Massachusetts State Senator William "Billy" Bulger (Benedict Cumberbatch). Following a string of violent acts, he becomes an FBI informant for 30 years in order to take down a Mafia family invading his turf, with unlikely help from an old childhood friend John Connelly (Joel Edgerton), who worked at the Bureau. Directed by Scott Cooper ("Crazy Heart") and co-written by Jez Butterworth ("Edge of Tomorrow") and Mark Mallouk and based on the 2001 novel "Black Mass: The True Story of an Unholy Alliance Between the FBI and the Irish Mob" by Dick Lehr and Gerard O'Neill, "Black Mass" is an understandably dark, and bloody but fascinating, complex crime drama that speaks to friendship, loyalty and lots of killing. "Mass" is memorably grounded by a mesmerizing, Oscar-worthy performance from Depp as real-life crime boss and killer Bulger, who is currently serving time in prison. Depp's weird on and off-screen persona has been misused cinematically the last few years in a string of bad movies, but "Black Mass" is a perfect fit for his talents; more importantly, he doesn't overplay it in showy DeNiro or Pacino fashion, emanating a cold, disturbing feel that perfectly captures the psychotic Bulger persona. Director Cooper shows growth as a director with this outing, skillfully handling the material and the ambitious production, with classic cars, clothes and hair, adeptly gives the feel of 1970s and '80s Boston. "Black Mass" has a semi-epic feel to it, with an overabundance of plotting and characters to keep track of (and probably many others left out of the tale); of the large supporting cast, Edgerton gives the strongest performance, while others are less memorable, including Cumberbatch, Kevin Bacon, Rory Cochrane, Peter Sarsgaard and especially the women - Dakota Johnson and Julianne Nicholson - are given very little to do. The entertaining, scary "Black Mass" is peppered with a few violent, unpleasant acts of killing, but it's Depp frightening Bulger turn that will stay with you long after the film is over, and will be a true crime if he isn't remembered come Oscar nomination time.

Phoenix - B

Rated PG-13, 98 minutes
In German with English subtitles

Tense, evocative and superbly acted, the moody German drama "Phoenix" is a must-see if you enjoy an unconventional romance mixed with some historical fact. A disfigured concentration-camp survivor (Nina Hoss) and former singer named Nelly, unrecognizable after facial reconstruction surgery, searches ravaged postwar Berlin for her husband Johnny (Ronald Zehrfeld) who might have betrayed her to the Nazis. Directed by German director Christian Petzold ("Barbara") and co-written by Petzold and Harun Farocki, "Phoenix" is a slow-moving, character driven tale of romance and betrayal and is one of the best foreign films of late. The involving yet bittersweet story will draw you in quickly, and is filled with complex layers that requires viewers to stay with it until the end; the film also works as a tragic love triangle, also involved is Nelly's friend Lene (Nina Kunzendorf), which adds some deeper romantic elements to the story. "Phoenix," which is so named for the club that Nelly sang in and met her husband, isn't all perfect, as its slow-moving, dialogue-heavy story won't appeal to all, and some might not care for its rather downbeat, but certainly evocative, climax and ending. "Phoenix" has a jazzy score which elevates its moodiness, and with its detailed costumes and sets, it evokes the mid-1940's Germany perfectly. If you enjoy character-driven, moody period romances, then the satisfying, well-acted tale known as "Phoenix" is for you.

90 Minutes in Heaven - C-

Rated PG-13, 121 minutes

There's no denying that Don Piper's story is inspirational, or even true, though it has to be much better than the bland treatment it's given in the sluggish and dramatically hollow faith-based movie "90 Minutes in Heaven," based on Piper's best-selling novel of the same name. Though it doesn't browbeat like some other recent Christian films have done (I won't mention any names, "War Room") treads the same ground as the 2014 film "Heaven is for Real," though that in fact that story turned out not to be real. Piper (Hayden Christensen), was involved in a horrific car crash and was pronounced dead at the scene in January 1989 and covered by a tarp. 90 minutes later he had been brought to the emergency room and returns to life, claiming to have seen Heaven and visited with deceased relatives while there. Directed and written by Michael Polish ("Twin Falls Idaho"), "90 Minutes in Heaven" is a likable movie with two appealing leads and it's premise is certainly inspirational, it lacks any sort of passion or emotional, dramatic shape. The movie works hard, maybe too hard at times to be inspiring, and while it's honorable to have a faith-based message that's not forcing its message down your throat, it could've generated more interest in its subject. Much of the film is actually spent not on Don's time in Heaven, but on his slow, painful recovery, and the toll it took on he and his family, particularly his long-suffering wife Eva, played by the lovely Kate Bosworth (and as a side note, the real Eva has written her own companion book to this, "A Walk Though the Dark" with her own speaking ministry). Don's visions of Heaven are told in great detail here, but it's still a disappointment considering the promise and beauty it holds for many, not to mention little else happens in the movie. With some decent production values, this is not as heavy-handed as some in this burgeoning genre, it's still boring and uneven, with a slow-as-molasses second act that may lose its audience; I also didn't really buy into Christensen, one of cinema's most annoying actors, as ordained minister Piper. The unsatisfying "90 Minutes in Heaven" is a big disappointment, not because it's offensive, but because it may put you to sleep. 

Pixels - D

Rated PG-13, 106 minutes

Yes, I know, the Adam Sandler action comedy "Pixels" came out earlier this summer, and I'm just now getting around to seeing it, and I wish I hadn't. On paper, it looks much better given the director, and while it has a few fun lines and decent special effects, it's still a regrettable embarrassment for all involved. As kids in the 1980s, Sam Brenner (Adam Sandler), Will Cooper (Kevin James), Ludlow Lamonsoff (Josh Gad), and Eddie "The Fire Blaster" Plant (Peter Dinklage) saved the world thousands of times - at 25 cents a game in the video arcades. Now, they have to do it for real when intergalactic aliens discover video feeds of classic arcade games and misinterpret them as a declaration of war, they attack the Earth, using the video games as the models for their assaults. Joining them is Lt. Col. Violet Van Patten (Michelle Monaghan), a specialist supplying the arcaders with unique weapons to fight the aliens. Directed by Chris Columbus of "Home Alone," "Harry Potter" and "Mrs. Doubtfire" fame and co-written by Tim Herlihy (writer of "Grown Ups 2" and other Sandler fare) and Timothy Dowling, "Pixels" is the typical dumb Sandler fare, taken to big-budget action heights this time. As a comedy, it's terribly unfunny and as an action film it's one of the sloppiest things I've seen in some time, wasting a talented cast including Emmy-winner Dinklage, who must've done this for the money, along with the lovely Monaghan and even acclaimed character actor Brian Cox as a blowhard general. What is most unfortunate is that on paper, the video game premise doesn't look half bad, but the problem happened when they decided to give it to Sandler and company, who dumbs this thing down so much it becomes near unwatchable, compounded by the casting of James as the President and the annoying presence of Gad. "Pixels" has some potential with its special effects, but overall this is an unsatisfying effort, and you'd have much more fun playing any of those classic games than sitting through this stupid, forgettable movie.

Sinister 2 - D

Rated R, 97 minutes

The 2012 low-budget horror film "Sinister" had some nice, diabolical twists, something lacking in its bloody, unoriginal sequel, "Sinister 2," which is dragged underneath a load of cliches and predictability. In the aftermath of the shocking events in "Sinister," a protective mother (Shannyn Sossamon of "Wayward Pines") and her 9-year-old twin sons (real-life twins Robert and Dartanian Sloan) find themselves in a rural house marked for death. Directed by Ciaran Foy ("Citadel") by C. Robert Cargill and Scott Derrickson, who wrote the first film, "Sinister 2" isn't anything new and lacks the fresh scary chills of the first movie, which had a way of getting under your skin. This bloody mess of a sequel is much less scary or surprising, and seems focused on its blood letting than any genuine chills; the only truly memorable thing is those slightly disturbing short films such as "Fishing Trip" and "Kitchen Remodeling" that shows some of the murders of the families, though my personal favorite was "Dentist" which may make you uncomfortable next time you need any dental work done. The climax is poorly staged and goes on way too long, with the deputy from the first film (James Ransone), the hero this time out. Worst of all, the unsatisfying, low-budget "Sinister 2" is most chilling because it seems like a money grab from its prolific low-budget horror film producers, Blumhouse Productions, and I wouldn't be surprised if there was a "Sinister 3."

The Perfect Guy - D

Rated PG-13, 100 minutes

The new thriller "The Perfect Guy" is far from the perfect. Dumb badly written and woefully misogynistic, this is essentially an urban "Fatal Attraction" with the roles switched. Successful lobbyist Leah Vaughn ("The Best Man's" Sanaa Lathan) jumps into a passionate relationship with a charming stranger, Carter (Michael Ealy). Later, a string of frightening events involving Carter convince Leah that she is in danger and when her former boy friend (Morris Chestnut of the upcoming TV show "Rosewood") surfaces, she must choose who she will stay with. Directed by David Rosenthal ("A Single Shot") and written by Tyger Williams, "The Perfect Guy" has an attractive cast but is so silly, lame and predictable that you will figure out way before its really dumb climax. All three actors have done better before, and it's unfortunate that the lovely Lathan and Chestnut, such appealing co-stars in the rom com "The Best Man" but given little to do here, and I hated the unfortunate plot twists in this movie regarding Chestnut's character, who's supposed to be the good guy here. It's so easy and obvious early on that things are gonna go South very quickly, and it was also obvious to me that Ealy's role as co-producer of the film would have him take on the meatier role; I also don't understand why the characters had to do such stupid things as walking alone late at night in a parking garage though they're fully aware they're being stalked - go figure. Aside from the engaging actors, who really try to make this work, "The Perfect Guy" is a silly, unsatisfying mess, and not worth your time. Far, far from perfect.

War Room - D+

Rated PG, 120 minutes

OK, I'm a little late in finally seeing the new faith-based drama "War Room," doing so with fear and trepidation, given that I'm a Christian and not a fan of these poorly-made films. Made by the Georgia-based Kendrick brothers, who made such faith-based movies as "Fireproof" and "Courageous," there is some good news this time out. The good news is that the heavy-handed, third-rate and inspiration-message heavy "War Room" is better than their previous films, though honestly that isn't saying much. Tony (T.C. Stallings) and Elizabeth Jordan (Dallasite motivational speaker Priscilla Shirer) have it all; great jobs, a beautiful daughter, and their dream house though their world is actually crumbling under the strain of a failing marriage. While Tony basks in his professional success and flirts with temptation, Elizabeth resigns herself to increasing bitterness but their lives take an unexpected turn when Elizabeth meets her newest client, Mrs. Clara (Karen Abercrombie), and is challenged to establish a "war room" and a battle plan of prayer for her family. As Elizabeth tries to fight for her family, their struggles come to light and Tony must decide if he will make amends to his family and prove Mrs. Clara's wisdom that victories don't come by accident. Directed by Alex Kendrick and co-produced and written by Alex and his brother Stephen Kendrick, "War Room" is filled with the same type of Christian inspiration whose message should please evangelical audiences but have little impact with secular audiences, which seems counter intuitive to what the Christian message should be: reach the nonbelievers. It also doesn't help the movie, which is exceedingly dull and slow, often plays like an extended sermon or Bible study; having come from a background like this, I can completely appreciate and understand its ideology and good message, but don't understand why the filmmakers don't do more to expand the message a wider audience. As the opinionated but upbeat Mrs. Clara, Abercrombie is the most memorable and fun of the bunch, and she doesn't pull any punches, though the rest of the movie isn't near as good though the lovely Shirer is a total doppleganger for Michelle Obama, maybe I shouldn't say that given many evengelicals are so conservative. "War Room" has slightly better production values - and thankfully, no Kirk Cameron - than the Kendrick's other films and Christians will enjoy it (and have made it a big hit financially), but they should know the Good News is bad news when it doesn't really do its job.

Steve Jobs: The Man in the Machine - B

Rated R, 128 minutes

There's likely a person on the planet who hasn't been impacted or touched by Steve Jobs in some way - if you don't have an Apple product, then you know someone who does. You'll know even more after the fascinating, detailed and overlong new documentary "Steve Jobs: The Man Behind the Machine." Director Alex Gibney, the proflic documentarian who has tackled such interesting and challenging subjects such as Enron, Scientology and Wikileaks now tackles his most difficult, complex subject: the founder of Apple and in some ways the father of the personal computer, the late Steve Jobs. Most of the planet, by now and especially after his death in 2011, is aware of at least some of the basic details of Jobs life and his rise as a technology pioneer and CEO of the now giant Apple, but the documentary goes into considerable more detail, speaking with friends, colleagues, industry insiders and journalists and family members and loved ones. "Machine" profiles Jobs as a brilliant with technology, but even smarter when it came to marketing Apple and its products, yet it's also a balanced portrayal of his personal and business life, showing what a charismatic but ruthless person he could be, confirmed by such folks as Apple co-founder Steve Wozniak (heard but not seen), his first daughter Lisa who he initially denied was his (again heard but not seen here, a slight disappointment, though we do gain some insight from Lisa's mother, Chrisann) and many others who Jobs worked with at some point. "Man in the Machine" ultimately goes on too long, spending too much time on things we either already knew (later Apple products) or internal Apple politicking that has little interest for the average viewer; the most fascinating is from a historical standpoint, with all the early footage and clips of Jobs at Apple, and while it touches on his personal life, it isn't extensive, given there's little to no footage or interviews from later family. Gibney ends it all on a bittersweet, romanticized note, and while Jobs was at times a total jerk there's no denying his impact and how many connected with him not personally but through the impact he had on their lives technologically. Gibney uses an eloquent Japanese proverb to describe Jobs, which tends to summarize the man and his machine quite well: striving for perfection but rarely achieving peace. The overlong but entertaining "Steve Jobs: The Man in the Machine," which precedes another feature film profile on Jobs coming later this fall, is an engaging look at some one you can thank for that Face Time chat or downloading your songs to your iPad, iPhone or iPod. Definitely worth a look.

The Visit - B

Rated PG-13, 94 minutes

Welcome back, M. Night Shyamalan we've missed you. It's great to welcome back the noted "Sixth Sense" director with a tense, well-made and low-key thriller, and his chilling new low-budget horror film, co-produced with prolific low-budget horror filmmaker Jason Blum, is his best film since 2002's "Signs." Becca (Olivia DeJonge) and younger brother Tyler (Ed Oxenbould) say goodbye to their mother (Kathryn Hahn) as they board a train and head deep into Pennsylvania farm country to meet their estranged maternal grandparents for the first time. Welcomed by Nana (Deanna Dunagan) and Pop Pop (Peter McRobbie), all seems well until the siblings start to notice increasingly strange behavior from the seemingly charming couple. Once the children discover a shocking secret, they begin to wonder if they'll ever make it home. Directed and written by Shyamalan, "The Visit" is devoid of big stars and big twists yet filled with a nice, disturbing atmosphere and humor that's been missing from his films over the years and will certainly have you wondering if your grandparents really are crazy. You'll find some of Shyamalan's trademarks: the chilly Pennsylvania (Shyamalan is a native) locale, some fun old movie references (among them, Michael Myers), plenty of clues and a truly creepy story that is well-handled by the director, including the final plot twist, which unlike other Shyalaman twists, is most surprising because it's revealed so casually and low-key. Most memorable are the two newcomers who ground the film so well, the wistful DeJonge and especially delightful Australian actor Oxenbould (of "Alexander and the Terrible, Horrible, No Good, Very Bad Day"), whose original, made-up rap tunes steal the movie (and stay over the credits for the best one), as well as the strange, eerie grandparents, Irish actor McRobbie and in one of the nuttiest turns seen in awhile, Tony-award winner Dunagan as the primary reason to stay in bed after 9:30 pm. Shyalaman also tries to incorporate a semi-touching but mostly maudlin backstory into "The Visit," which is less successful than either its understated humor or its genuinely weird vibe; also the movie's more annoying moments come as it relies on the overused found-footage/let's-film-everything theme and in spite of a somewhat sloppy climax, overall there's enough solid chills to make it work. Shyalaman also loves to layout obvious hints, and there's plenty to keep you guessing in the satisfyingly tense, enjoyably chilling "The Visit," which marks a nice return to form for the director. Definitely worth a look and one of the better horror films of late.

Before We Go - C-

Rated PG-13, 89 minutes

The unremarkable, contrived new romance dramedy "Before We Go," in spite of its two appealing thirty-something leads, falters in making you believe in or fight for this pair. The movie follows the journey of two strangers, Nick (Chris Evans) and Brooke (Alice Eve) stuck in New York City for the night. Starting as convenient acquaintances, the two soon grow into each other's most trusted confidants when a night of unexpected adventure forces them to confront their fears and take control of their lives. Directed by Evans in his feature directorial debut and written by Oscar-winner Ronald Bass ("Rainman"), "Before We Go" is a downbeat, implausible look at whims, bad luck and lost chances that couldn't have happened to a more engaging pair. It's a likable but inauspicious directing debut for Evans, with the thin storyline and cardboard characters riding on the charms of he and fellow lead Eve ("Men in Black 3"); the movie has little to do but have the characters walk around New York City and discuss their sucky love lives and relationships. On top of that, the bad luck these two have you'd think they'd eventually run away from each other (stolen purses, declined credit cards, lost relationships and jobs - you name it) and it's a miracle they stay together as long as they do. Captain America/Evans has a lot going for him, but this time out, he's not able to save this depressing, talky and unsatisfying low-budget rom com. Sorry to say, but "Before We Go" is one to skip.

The Transporter: Refueled - D

Rated PG-13, 96 minutes

The Luc Besson-created and Jason Statham-starring "Transporter" franchise were never truly great movies, but modest box-office hits and guilty pleasures at best. Now the fourth film, "The Transporter: Refueled" featuring a new cast and Besson still producing arrives in theaters, and this preposterously dumb, badly acted action-thriller is peppered with a few decent action scenes but is otherwise a typical Labor Day throwaway.  Frank Martin (played by newcomer Ed Skrein taking over for Statham), a former special-ops mercenary, is now living a less perilous life - or so he thinks - transporting classified packages for questionable people. When Frank's father (Ray Stevenson) pays him a visit in the south of France, their father-son bonding weekend takes a turn for the worse when Frank is engaged by a cunning femme-fatale, Anna (Loan Chabanol), and her three seductive sidekicks to orchestrate the bank heist of the century. Directed by Camille Delamarre and co-written by Besson with Adam Cooper and Bill Collage, "The Transporter: Refueled" is a lackluster, dull attempt to revive the "Transporter" franchise, and this bland effort is easily the worst in the series, which is saying something and might have you longing to see Statham, who has since gone on to better things since the last film in 2008, back in the saddle as professional hit man and driver Martin. It's no big surprise that such a forgettable movie like "Refueled" would close out the summer, but at least it tries; handsome British actor Skrein, sure to become a bigger star after playing the villain in the upcoming "Deadpool," is handsome but vacuous, and the three models playing the blonde-wigged sidekicks have to be among the worst actresses seen in sometime (why give them any lines at all - they're all just awful). Familiar actor Ray Stevenson ("Thor") tries to add some comic relief as Martin's dad, but he isn't given much to do and the cast in general is less memorable than the real star of the show, those nice Audi S8's that do some of the more impressive stunts in the movie, which should keep you from falling asleep from the preposterous and predictable storyline involving some shady crooks from Martin's past. There are many better ways to spend your Labor Day holiday, and they don't involve the slickly packaged, forgettable action movie "The Transporter: Refueled," which should hopefully put this film series to rest for good.

Grandma - B

Rated R, 80 minutes

Julia Garner and Lily Tomlin

Before you go see the affecting, superbly acted dramedy "Grandma," put aside any personal beliefs you may have about homosexuality or abortion. Starring the charming, veteran comedienne Lily Tomlin in a role that's probably a tad closer to some of the other things she's played, it may have some different yet complex sensibilities but has its heart in the right place. Elle (Tomlin) is a mature lesbian poet who has just broke up with her younger girlfriend (Judy Greer) when Elle's granddaughter Sage unexpectedly shows up needing $600 bucks before sundown. Temporarily broke, Grandma Elle and Sage spend the day trying to get their hands on the cash as their unannounced visits to old friends and flames end up rattling skeletons and digging up secrets. Directed and written by Paul Weitz of "American Pie" and "About a Boy" fame, "Grandma" is a quick, funny and very moving tale of family loyalty and owning up to any past mistakes and choices you've made, and it has an engaging heart and soul missing in many movies today. In fact, "Grandma" is so quick, you wish it would go on longer, and one of its few drawbacks is it doesn't fully explore many, many issues it raises, and leaves many more implied, but what is there is quite good. Tomlin ably graces the screen in a humorous, bittersweet performance that will have you laughing and crying, and the memorable car she and her granddaughter, played believably by Julia Garner ("Perks of Being a Wallflower"), a 1955 Royal, is actually owned by Tomlin. Tomlin's Elle is quite the tough cookie too: she kicks tail and takes names, drips coffee in the coffeehouse, gets punched by a young girl outside an abortion clinic, all the while helping her granddaughter do the right thing. Sam Elliott also makes a brief appearance in the film's most serious and moving episode, about a former husband she abandoned, as does Oscar-winner Marcia Gay Harden as her equally difficult daughter. The entertaining, episodic "Grandma" ends too quickly and too predictably and there could've easily been much more, but it's still a satisfying look. It's not for everyone, but it's certainly worth a look for the always engaging Tomlin, who's quite the tart here.

Learning to Drive - B-

Rated R, 89 minutes

The sweet new dramedy "Learning to Drive" is as pleasant and comfortable as a Sunday drive. It's a well-acted but safely predictable movie that mines the overused coming-of-age genre, but you'll still leave with a smile. Wendy (Patricia Clarkson) is a sharp-tongued Manhattan book critic who is shattered when her husband Ted (Jake Weber) leaves her. In order to visit her daughter (Grace Gummer) in upstate New York, Wendy begins taking driving lessons from Darwan (Ben Kingsley) an American citizen originally from India who makes a living as a cabbie and giving driving lessons. The two form an unlikely friendship that teaches them both about their current life situation. Directed by Isabel Coixet ("Elegy" - also with Clarkson and Kingsley) and written by Sarah Kernochan ("What Lies Beneath"), "Learning to Drive" is a familiar, charming but hardly revelatory look at a middle-aged woman's often uneasy transition to singlehood and trying to new things, but works mainly due to its talented cast. Led by the always engaging and one of cinema's most underrated character actresses, Clarkson, who ably grounds the film, along with Kingsley, both of whom share a warm chemistry, especially in their driving lessons together. I also appreciate that "Learning to Drive" is very female-driven, given the director, writer and star are all women, something that isn't seen often in Hollywood these days. The life lessons and platitudes espoused here are a little too obvious but my favorite coming from Kingsley: "all you need is courage and a little gas" and down the stretch you have a sense of the road it's taking, which is actually a little braver than most for this genre. I appreciated Clarkson's understated, likable performance, which helps the film, given that it could've faltered (and likely been much more annoying) under another actress such as Susan Sarandon or Diane Keaton. Most of the enjoyable "Learning to Drive" works pleasantly enough, and is a bit of a trifle, but it's a serviceable transition from late summer to early fall.

A Walk in the Woods - C+

Rated R, 98 minutes

The thinly charming, predictable "A Walk in the Woods" is loosely based on a true story, though after seeing it you'd have to think the real story was much more adventurous than this dull, episodic tale, which seems a surface, trifle exploration of friendship in elements. After spending two decades in Britain, celebrated travel humorist author Bill Bryson (Robert Redford) returns to his native United States. In an effort to reconnect with his country, he decides to hike the 2,200 stunning miles of the Appalachian Trail. But while he had envisioned it as a trek of relaxation and tranquility, it becomes something entirely different when his philandering, former friend Stephen Katz (Nick Nolte) joins him on the trip. Directed by Ken Kwapis ("The Sisterhood of the Traveling Pants") and co-written by Rick Kerb and Bill Holderman and based on the novel and experiences of real-life author Bryson and his friend Katz, this mildly engaging trip seems more intent on the odd-couple grousings of two older men who seem ill-equipped to handle what nature seems to give them. The charming leads are game, including the miscast Redford, who is too old for the role and looks nothing like the real Bryson, along with the better cast Nolte, who chews scenery and is the most memorable part of the movie, aside from the real shots of the lovely Appalachian Trail. The film meanders in its second act, especially a misplaced off-trail sequence involving Nolte's amorous escapades, and Redford's Bryson spends a lot of time talking about the trees, griping that he always finishes what he starts, as well as insisting he won't be writing a book - yet interestingly (and this is not a spoiler if you're familiar with Bryson's book) - they don't completely finish the trek and of course Bryson does end up writing a book - something that seems anti-climactic given the film's premise. I liked the Redford-Nolte teaming, but "A Walk in the Woods" is a disappointment and lacks authenticity (the film's climactic scene appears to have been shot on a studio soundstage) or a sense of real wonder.