Scouts Guide to the Zombie Apocalypse - C-

Sarah Dumont, Tye Sheridan and Logan Miller

Rated R, 93 minutes

The dark new horror comedy "Scouts Guide to the Zombie Apocalypse" is the teenage nerd's survival guide to battling zombie's, and while it has some bloody, fun moments, it's a mess of a movie in more ways than one. What could possibly go wrong when three buddies (Tye Sheridan, Logan Miller, Joey Morgan) decide to join the Boy Scouts? When bloodthirsty, undead ghouls invade their once-peaceful town, it's up to kindhearted Ben, quick-witted Carter and class clown Augie to save the day. With help from Denise (Sarah Dumont), a beautiful but tough cocktail waitress, the boys must put their scouting skills to the ultimate test to save mankind and earn their zombie-killing badges. Directed and co-written by Christopher Landon, who has been associated with some of the "Paranormal Activity" films (he wrote three of those films and directed 2014's "The Marked Ones"), the likable "Scouts Guide" is peppered with enough blood and merriment that will please those who enjoy the zombie genre, though it's not as funny or satisfying as other films in this genre such as "Warm Bodies" or "Life After Beth," with all of the characters here - especially the teenage trio that must save the day - in overused stereotypes. It starts off well with some nice, bizarre, off-kilter moments, such as the turning of funnyman David Koechner (of the "Anchorman" films), as the Dolly Parton singing scout leader, into a zombie, but falls apart in its last act, in a bloody climax that's so contrived it's sure to provoke some eye rolls and "yeah, whatever's." "Scout's Guide" is bloody fun for a minute or two, but as far as zombie's go, this one really lacks bite for your Halloween Weekend. Definitely not worth your time.

Our Brand is Crisis - D

Rated R, 108 minutes

Sandra Bullock

Boy, it sure does pain me to write this review, as much as I love Sandra Bullock and watching her every move, her new political satire comedy, "Our Brand is Crisis," stinks. This misfire, an unfortunate and unfunny look at using American-style political tactics in a South American election, is one of Bullock's most annoying film vehicle since her Razzie-award winning turn in "All About Steve." In 2002, Bolivian politician Pedro Gallo (a fictionalized version of Gonzalo Sánchez de Lozada) hires American James Carville's political consulting firm, Greenberg Carville Shrum, to help him win the 2002 Bolivian presidential election. GCS brings in Jane Bodine (Sandra Bullock) to manage the campaign in Bolivia. Battling her arch nemesis, the opposition's political consultant Pat Candy (Billy Bob Thornton), Bodine successfully uses American political campaign strategies to lead Gallo to victory against Victor Rivera (a fictionalized version of socialist candidate Evo Morales).  Directed by David Gordon Green ("Pineapple Express") and written by Peter Straughan ("Frank") and produced by George Clooney and Grant Heslov, the grating, predictable "Our Brand is Crisis" is based on the 2005 acclaimed documentary of the same from Rachel Boynton, with this film a fictionalized account of the 2002 Bolivian election. It's mostly a bore, with the always charming Bullock walking around looking slightly peeved and munching on snacks throughout the film as she strategizes how to steal votes from her rival, a slick and hammy Thornton in James Carville mode. And no surprise, they start getting votes when they start hitting below the belt and campaigning negatively, digging up dirt about dirty deals and affairs that prove that politicians can be dirty in any country, not just the U.S. Sure, I enjoyed Bullock, and she proves she can handle a role meant for a man, though the script, direction and pacing are all off, veering wildly in different directions, especially in the second act. There are only a handful of truly funny moments, including one for a llama who meets an unfortunate fate, but "Our Brand is Crisis," in spite of a game Bullock, is an unsatisfying comedy that doesn't really work. As much as I hate to say it, skip it for something much better.

Truth - B-

Rated R, 125 minutes

One of journalism's broad responsibilities is to tell the truth, which can carry some heavy consequences with it either way. That and more is explored in the true story of the last days of Dan Rather and his well-meaning producer, the uneven but compelling, well-acted journalism drama "Truth," directed and written by "The Amazing Spider-Man" scribe James Vanderbilt. On the morning of September 9, 2004, veteran CBS News producer Mary Mapes (Cate Blanchett) believed she had every reason to feel proud of a broadcast journalism job well done, producing a story that shed light into then-President George W. Bush's military record. By the end of the day, Mapes, CBS News, and the venerable CBS News anchor Dan Rather (Robert Redford) would be under harsh scrutiny. If you know anything about the Killian documents controversy that came in the final months of the 2004 U.S. Presidential Election, you know it didn't end well for Mapes or Rather (along with others), who lost their jobs over the situation. Based on Dallasite Mapes's non-fiction novel "Truth and Duty," the modestly engrossing but occasionally preachy "Truth" is most memorable for the acting, primarily an engaging Blanchett as Mapes, who this story is really about; Redford's is solid as Rather, and while it's the more high-profile due to Rather's high-profile job as news anchor, he's more of a figurehead and scapegoat for Mapes and her team, an instance of killing the messenger as well as those who developed the story. Redford's weathered look is an advantage here as Rather, and while it's not a direct impersonation of Rather in that it lacks his speech and mannerisms, it captures his commitment to a good story. The strong supporting cast, including Dennis Quaid, James Keach, Elisabeth Moss, Bruce Greenwood and Topher Grace all have a few good moments in spite of Vanderbilt's penchant for a handful of preachy monologues about truth and journalistic integrity, in an effort perhaps to be the next "All the President's Men," which ironically also starred Redford. "Truth" is also somewhat of a misleading title, given the outcome the story and that the documents in question were never proved to be authentic - or fake - for that matter; also, it proves to execute a truly great story, you must have strong storytelling and journalistic qualities, which, in spite of what the movie says, perhaps didn't happen in an effort to get the story to air. Even with its flaws, "Truth" is worth a look for strong performances, from both Blanchett and Redford, both of whom make the movie worth watching.

Burnt - C-

Rated PG, 105 minutes

The sluggish, flavorless new culinary drama "Burnt" starring Bradley Cooper as a douche-bag chef and directed by John Wells ("The West Wing" creator) is peppered with a few compelling moments, though lacking in freshness and real bite. Adam Jones (Cooper) is a Chef who destroyed his career with drugs and diva behavior. He cleans up and returns to London, determined to redeem himself by spearheading a top restaurant that can gain three Michelin stars. Directed by Wells and written by "Eastern Promises" Steven Knight, the handsome and likable "Burnt" has a vacuous appeal and Cooper's eye candy going for it, but it has the calculated spark of a late night McDonald's drive-thru. Cooper is solid as the jerky, bad boy chef trying to make his way, but the uneven script veers off in too many unsatisfactory side dishes i.e. cliched subplots, including some old debts and a new romance, that tend to hamper its predictable finale. As a three-course meal, "Burnt's" appetizer is intriguing, the main course is unfocused, and its dessert rather unsatisfying; it wants to offer something different but serves up the same, stale plot twists that give little depth to this meal overall. Cooper handles it well, but the rest of the talented cast isn't as effective, as he's reunited with his lovely "American Sniper" wife Sienna Miller in the weakest aspect of the movie, an empty, unexplained romance that hurts the movie; Daniel Bruhl ("Rush") in another of the film's unfortunate subplots; Uma Thurman and Oscar-winner Emma Thompson misused in small, underwritten parts, and the most memorable, "The Americans" Matthew Rhys as his rival chef. At least one thing that "Burnt" does get right its most memorable aspect: those delectable real dishes that chef Cooper and his team serve up in the restaurant, which look much more appetizing than the popcorn and candy you'll munch on during the film. Unsavory and unsatisfying, the bland "Burnt," in spite of its likable appeal (and for some, that appeal - Cooper - is enough to engage them), leaves a disappointing aftertaste. Here's your generous tip for this meal: skip it for something far more interesting.

Room - A-

Rated R, 113 minutes

Sometimes small boxes hold beautiful things, which is the premise of the superbly acted, engrossing new drama "Room," based on Emma Donoghue's affecting best-selling novel of the same name. The Irish-Canadian film, directed by "Frank's" Larry Abrahamson and adapted by Donoghue herself, is a fictional but remarkable story of the bond between mother and child but also learning to adapt and re-adapt to a new world. Held captive for years in an enclosed space they euphemistically called "Room," a woman ("Trainwreck's" Brie Larson) and her 5-year-old son (newcomer Jacob Tremblay) finally gain their freedom, allowing the boy to experience the outside world for the first time. The claustrophobic, intense first act of "Room" is essentially a two-person play, kept within the confines of room, with the next chapters dealing with Ma and Jack's freedom and adjusting to their new surroundings. "Room" will be best remembered for two things: the touching story, and the superb, moving performances from Larson and Tremblay, whose plausible chemistry, especially in the first part of the movie, highlight what could've been a downbeat film. Newcomer and 8-year old Tremblay, seen with long, girlish hair for much of the film, is especially touching in a remarkable, breakout turn as the boy who literally saves his mother's life not once, but twice, when Ma has a mental breakdown later in the film. He has the film's most engrossing turnaround as he adjusts to his new life along a few of the film's most memorable sequences, including the harrowing escape from room, as well as the poignant final scene, in which he finally says goodbye to room. Larson is also quite strong as the mother who wants the best for her son, and in spite of her own flaws, will always have a bond with her son; also good is Oscar-nominee Joan Allen (who we haven't seen in a solid big screen role in a few years) as Joy/Ma's mother, who is charged with Joy and Jack's care following their ordeal. With focused direction from Abrahamson, "Room" is one of the year's most powerful, superbly acted films, and put this one on your must-see list. I wouldn't be surprised if Larson, Tremblay along with Donoghue's strong script all receive accolades in the near future.

Beasts of No Nation - A-

Idris Elba

Unrated, 137 minutes

The brutal, unflinchingly intense new drama "Beasts of No Nation" is one of the toughest films of recent memory to watch, but the thought-provoking story and acting will stay with you long after you leave the theater. In West Africa, the life of young Agu (Abraham Attah) is disrupted when his father is slaughtered in a civil war and he is inscripted as a child soldier into a mercenary unit led by the sadistic Commandant (Idris Elba). Directed, written, produced and photographed by Cary Joji Fukunaga ("Sin Nombre," and Emmy-winner for the first year of TV's "True Detective") in stunning detail, the powerful, uncompromising "Beasts of No Nation," based on the novel of the same name from Nigerian author Uzodinma Iweala, it's one of the year's best, must-see films. Along with Fukunaga's masterful direction and intense photography, the highlight is the incredible performances from young 15-year old Ghanaian actor Attah in his debut turn as the boy thrust into a bloody world of a war he doesn't completely understand, as well as Elba as the brutal leader who become a surrogate, father-like figure to Agu. Attah perfectly captures the struggle between adolescence and soldier, and growing up much too quickly in a culture that demands it; his bloody initiation by Commandant is one of the film's toughest scenes to watch, as he must kill an innocent, unarmed man; expect also many other harsh scenes of many dead bodies, blood and body parts. The engrossing "Beasts" is a tad too long, the last act is a little redundant and drawn-out, but still fascinating enough to keep you engaged throughout. Its brutality may not be for everyone, but you won't soon forget its fearless portrait of a young, unsure soldier in the line of fire. Expect to see accolades for this film, especially for Attah and Elba, along with Fukunaga. "Beasts of No Nation" is currently in limited release in theaters and also streaming on Netflix, who also produced and distributed the film.

Paranormal Activity: The Ghost Dimension - D

Rated R, 95 minutes

The "Paranormal Activity" films, from noted horror film producers Oren Peli and Jason Blum, started out with a novel premise but have since milked the "found footage" genre to death, and now it feels so passe, and well, just not that scary anymore. Fans of the "Paranormal Activity" series will be disappointed with the sloppy, silly and needless "Paranormal Activity: The Ghost Dimension," which will likely be the end of the series, unless it makes a dollar or two for its producers. Set in December of 2013 (and almost two years after the Marked Ones), The Fleeges family - father Ryan (Chris J. Murray), mother Emily (Brit Shaw) and their young daughter Leila (Ivy George) - move into a house and discover a video camera and a box of tapes in the garage. When they look through the camera's lens, they begin to see the paranormal activity happening around them - including the re-emergence of young Kristi and Katie. Directed by Gregory Plotkin, "Ghost Dimension" is the worst in the "Paranormal Activity," which is unfortunate for what started as a phenomenon has to end on such a bad note. It tries too hard to tie up loose ends, has an exceedingly dumb last act (time travel - huh?) and fans expecting to see the adult Katie (Katie Featherston), will be very, very disappointed. The lackluster spin-off 2014 movie "The Marked Ones" veered off from the series, and while this returns to the original story, "Ghost Dimension" feels so unnecessary and is simply not as funny or as scary as the other "PA" films, which have admittedly made their producers very, very wealthy.  I wanted to give this last one a chance and there are a few jumps, but to get some real scares, I'd rent the much more chilling first "Paranormal Activity," which still creeps me out to this day.

Jem and the Holograms - D

Rated PG, 90 minutes

The needless remake "Jem and the Holograms" is the bland, super annoying and downright bizarre adaptation of the 1980's animated TV show "Jem." Directed by Jon Chu of "Step Up" fame and who helped another famous young singer, Justin Bieber, find his way, this misfire is an uneasy mix of sci-fi and rags-to-riches story. Singer Jerrica Benton ("Nashville's" Aubrey Peeples), her sister Kimber (Stefanie Scott), and her friends Aja (Hayley Kiyoko) and Shana (Aurora Perrineau), aspiring musicians, embark on a quest to become superstars. With help from Rio (Ryan Guzman) and his mom, Starlight Music CEO (Juliette Lewis) the four young band members find their own voice while taking the world by storm. The silly, cutesy yet off-putting "Jem and the Holograms" hits all the wrong notes, mainly because it's such a weird mix of "Short Circuit" (a movie I still hate to this day) and "Pitch Perfect," which it would like to be but is far, far from. Even the tween set this is geared to may not remember the '80s cartoon this is loosely based on and of which significant changes were made to the screen. As the ambitious CEO and band manager, Lewis all but chews up scenery and seems to be acting in a completely different movie altogether while the four girls playing the musical group have absolutely zero chemistry together; the predictable plotting can be seen from a mile away, while that cute robot named Synergy is one of the strangest additions a movie I've seen recently. The pop sugary music is hardly memorable as some of the cameos, including Chris Pratt and Jimmy Fallon, both of whom may be embarrassed to have their name attached to forgettable dreck such as "Jem and the Holograms."  Stay far away.

The Last Witch Hunter - C-

Rated PG-13, 105 minutes

If there's one lesson to take away from the dumb new Vin Diesel thriller "The Last Witch Hunter," it's to let it go. Really, it's just fine after a few hundred years, let it go. The only thing is, Diesel's character has been cursed with immortality, thus cursing us the audience with such a silly, bland film directed by Breck Eisner, son of former Disney chief Michael Eisner and director of the much edgier horror film, "The Crazies." The modern world holds many secrets, the most astounding being that witches still live among us. Centuries ago, ancient witch hunter and warrior Kaulder (Diesel) managed to slay the all-powerful Witch Queen (Julie Engelbrecht), though she cursed Kaulder with her own immortality, separating him from his beloved family. Her resurrection now threatens the survival of the human race as Kaulder, the only one of his kind remaining, faces her vengeful wrath. If the ridiculous "The Last Witch Hunter" sounds bad, it is, and while it's scattered with some decent visuals and an interesting premise, it would've worked better with more camp and humor; instead all of the actors, especially Diesel and his priest sidekick, played by "Lord of the Rings" Elijah Wood, take it so darn seriously. This "Witch" has also been cursed with a confusing plot and a sluggishness that makes it difficult to follow from the slow first act, in which Oscar-winner Michael Caine - in another take-the-money-and-run turn - disappears way too quickly, giving way to some more energetic moments later on as Diesel pairs with a witch ("Game of Thrones" Rose Leslie, lovely but miscast here) to defeat a witch, making it no easier to understand. The ending, much like its prologue, ends with a load of action and special effects, though like the movie itself, it really didn't make much sense to me; this evil witch really has trouble moving on (or in her case, just being dead) and letting go of the past. Diesel's fan base, who have enjoyed his grunting and growling in all those "Fast and Furious" movies, will likely enjoy it here too, though it's much less fun and way more dumb, if that's possible.

Rock the Kasbah - D+

Rated R, 100 minutes

Recent Emmy-winner Bill Murray is one of my favorite actors and comedians, but his new comedy falls flat. The pleasant but messy, wildly uneven new comedy "Rock the Kasbah," in spite of its charming star and a great cast, hits many sour notes. Murray is Richie Vance a has-been rock manager who takes his last remaining client on a USO tour of Afghanistan. When Richie finds himself in Kabul, abandoned, penniless and without his passport, he discovers a young girl with an extraordinary voice and manages her through Afghanistan's version of "American Idol," the wildly popular "Afghan Star." Directed by Oscar-winner Barry Levinson ("Rainman") and written by Mitch Glazer ("The Recruit"), "Rock the Kasbah" is a rather meaningless title for a sloppy, meandering movie that doesn't rock anything and is scattershot funny only due to the charms of Murray, who does his best to make the thing work as the out-of-place talent agent full of wild claims such as having discovered Madonna. I've heard that little good comes out of Afghanistan, and that would be true when concerned with this movie, which doesn't even get to its talent show premise until well into the second act; very loosely inspired by the courageous true story of Setara Hussainzada (for whom the film is dedicated to), the first woman to really sing and dance on the real "Afghan Star" TV show, "Rock the Kasbah" is far less engaging than Hussainzada's story, far from funny, and wastes a bunch of talented actors in a very, very thin movie that has a wisecracking Murray traipsing across the desert and getting shot for little reason at all. Zooey Deschanel, Bruce Willis, Kate Hudson, Scott Caan, Danny McBride and Taylor Kinney all appear, mostly in roles (especially Hudson's) that are contrivances, while the lovely Leem Lubany, as the young Afghan woman with a pretty voice, is given little to do. The uneven last act, a messy mix of bullets and maudlin inspiration, especially rings false seeming like a different movie altogether, and I'd say that "Rock the Kasbah" would go down as one of acclaimed director Levinson's worst films. Unless you really, really enjoy Murray, I wouldn't bother with this and instead watch the excellent 2009 documentary on Hussainzada's story, aptly called "Afghan Star."

Crimson Peak - C+

Rated R, 110 minutes

If you like old-school horror flicks mixed with some blood and chills, then the creepy new Guillermo del Toro movie "Crimson Peak" is for you. The acclaimed director of "Pan's Labyrinth" and "Blade" returns for a more traditional, old-fashioned horror movie with loads of style, creepiness and a stellar cast. Set in Cumbria, in a crumbling mansion in a largely rural and mountainous region of northern England in the late 19th century, young author Edith Cushing (Mia Wasikowska) falls in love and marries Sir Thomas Sharpe (Tom Hiddleston) but then discovers that her charming new husband is not who he appears to be. His home harbors ghostly, mysterious entities, which he and his sister, Lady Lucille Sharpe (Jessica Chastain), desperately and fiercely try to hide. Directed by del Toro and co-written by he and Matthew Robbins ("Mimic"), the stylish "Crimson Peak" is a lavish, upscale that's much more story-driven, and while filled with a few scattered chills, it's less jumpy and disturbing than most del Toro efforts and heavier on the creepiness factor. On that note, "Crimson Peak" is indeed plot-heavy, with a slower, plodding first act until it picks up some steam in the later chapters, when it begins to unravel and take more shape, with some interesting tea and big knives. Those del Toro fan boys expecting the scares or blood and guts from "Blade," "Hellboy" or even the aforementioned "Pan's Labyrinth" might be a little disappointed, though del Toro still crafts some decent chills, and filled with his usual first-rate visuals, production design and dark but lush photography from acclaimed cinematographer Fernando Velazquez ("Mama," "The Impossible"). It also features convincing work from the well-cast Wasikowska and especially Chastain, who continues to impress in a variety of different parts, this her second horror film collaboration with del Toro (the first was the solid del Toro-produced outing "Mama") and a role that isn't her usual heroine. The stylish, brooding "Crimson Peak" isn't del Toro at his scariest and he draws it out too long here, but it's still worth a look for a handful of chills.

Bridge of Spies - B

Rated PG-13, 135 minutes

If you go into the new drama "Bridge of Spies" from Steven Spielberg and Tom Hanks expecting the bravura and intensity of their previous efforts such as "Saving Private Ryan" and "Catch Me If You Can" you might be disappointed, given that it's not really an action film but tense cat-and-mouse spy drama. Based on a true story, it's also a tad long and a little dry in places, but held together by it's atmosphere and sturdy performances. American attorney James Donovan (Hanks) is tasked with negotiating the release of a U-2 spy plane pilot who was shot down over Russia at the height of the Cold War, and exchanging him for a imprisoned Russian spy (Mark Rylance) being held in the U.S. Directed by Spielberg and co-written by Joel and Ethan Coen and Matt Charman, the talky but handsomely-made "Bridge of Spies" is slow, character-driven and worthwhile in the end, though it clearly lacks the gravitas and overall excitement of "Saving Private Ryan." Hanks, in Jimmy Stewart "Mr. Smith Goes to Washington" bleeding heart form, grounds the film well, playing the real Donovan (of whom he bears no resemblance to at all) with his usual casual warmth and charm, though the film's most memorable turn comes from multiple Tony-award winning actor Mark Rylance, terrific as the Russian spy whose nonchalance and humor underscore his considerable confidence ("Should I be?" is his repeated, go-to response when asked if he's concerned or worried about his situation). The sluggish first act picks up to a more engaging second and third act, though Spielberg draws the conclusion out much too long, in a climax that was surely not as dramatic in real life as made out to be here; in addition, as for the rest of the large cast, Amy Ryan ("Gone Baby Gone"), as Donovan's concerned wife, and Alan Alda, as Donovan's colleague, are both considerably underused. Unsurprising for a Spielberg film, the production values are hardly shabby, though, with a solid, uplifting score from Thomas Newman and handsome photography, especially in the later Berlin scenes, from Spielberg's go-to cinematographer, Oscar-winner Janusz Kaminski, that keeps things engaging. Though not the best of the Spielberg-Hanks collaborations, "Bridge of Spies" is a satisfying, upstanding film, highlighted by an Oscar-worthy turn from acclaimed stage actor Rylance, whose engaging spy is at the center of the movie.

Steve Jobs - A-

Michael Fassbender as Steve Jobs

Rated R, 122 minutes

There are two things you should know about the well-made, powerful "Steve Jobs," the drama about the iconic Apple Inc. founder: it has nothing to do with Apple's current devices (and with only passing reference to iPod) or his illness, and while it's not your typical biography, it's mesmerizing one. Set backstage at three iconic product launches and ending in 1998 (pre-iPod, iPhone and iPad) with the unveiling of the iMac, Steve Jobs (Michael Fassbender, excellent here) takes us behind the scenes of the digital revolution to paint an intimate portrait of the brilliant man at its epicenter. Directed by Oscar-winner Danny Boyle and written by Oscar-winner Aaron Sorkin based on Walter Isaacson's 2011 novel of the same name, the engrossing, slick and well-acted "Steve Jobs" is by far the best film made about Jobs, far exceeding the rushed and sloppy "Jobs," starring Ashton Kutcher, who bears more physical resemblance than Fassbender but lacks the latter's gravitas in this film's most memorable performance. "Steve Jobs" is also aided by Boyle's focused direction and especially Sorkin's sharp script and dialogue, along with a very strong, stellar supporting cast, some of whom could see accolades come awards time. The unconventional biopic plays to Sorkin's strength, as this is essentially a series of extended, engaging conversations dealing with Jobs' business interests and personal life, primarily his daughter Lisa (played by various actresses here) and ex-girlfriend and Lisa's mother, Chrisann Brennan (played as a mopey, troubled woman by Katherine Waterston). His business interests in Apple Inc.'s rise is far more interesting, with memorable turns as Apple colleagues: Kate Winslet as Marketing Director and Jobs confidante Joanna Hoffman, Jeff Daniels as embattled CEO John Sculley, Seth Rogen as co-founder Steve Wozniak, and Michael Stuhlbarg as brilliant Mac team member Andy Hertzfeld. All are believably strong, though Winslet's Polish accent comes in and out, with two of the film's most effective scenes coming with Daniels and in one showdown late in the film between Jobs and Woz ("you can be brilliant and a decent person" Woz retorts). Fassbender's is cinema's best Jobs giving him much-needed depth, though in fact we don't much more about him after the film than we did before, except he was all-too human, both genius and jerk, and as he says himself "I wasn't well-made" - as well as a flash of much-needed sexiness from Fassbender's strong appeal. Though far from insightful or even an expansive biography (not to mention there were many, many involved from Apple in this technical and creative process and these folks, while interesting, seem cherry-picked for cinematic interests), "Steve Jobs" is vastly entertaining and satisfying, and Jobs himself would likely give his stamp of approval. One of the year's best put-together films (it's superbly edited), expect some accolades and awards consideration for " Steve Jobs," mainly for Sorkin's script, Fassbender's superbly nuanced portrayl, and Daniels or Stuhlbarg in small but pivotal supporting roles. Definitely worth a look.

Time Out of Mind - B

Unrated, 117 minutes

Being homeless presents itself with many challenges, and in New York City even more challenges. That's the subject of the leisurely but powerful character-driven new drama "Time Out of Mind," written and directed by Oren Moverman of "Rampart" and "The Messenger" fame. Richard Gere is George, a homeless, mentally-ill man who has been unable to hold a job for years. He drifts through the city looking for food, alcohol, and shelter and tries to make contact with his estranged daughter (Jena Malone). Eventually George takes advantage of some of the social services provided by the city of New York, but has challenges with legalities of the system. Along the way, he befriends a fellow homeless man (Ben Vereen) who claims to have been a successful jazz musician. "Time Out of Mind" is a low-key, slow-moving and well-acted drama about the provocations of living on the street in New York City, with an especially moving performance from Gere, cast against type as the older, homeless man literally shuffling from one homeless shelter to another. The deliberate tone, pacing and photography give the film a loose feel; Moverman and his cinematographer Bobby Bukowski keep the camera lingering in scenes - even in simple ones such as sitting at a bar or a piano or in a chair - much longer than necessary, to the point that it becomes uncomfortable and uneasy, though that is exactly the point it's making about homelessness - that it's uncomfortable and uneasy. "Time Out of Mind" is  occasionally too unhurried and a little too downbeat, and while it's statements about the homeless are mostly neutral politically, they're still poignant ones, especially when it comes to family. There are many, many characters on the streets, and they filter in and out of the movie too quickly, blink and you'll miss a barely recognizable Kyra Sedgwick ("The Closer") or Steve Buscemi, in a very brief cameo at the beginning of the movie; most memorable are Vereen, as the chatty supposed ex-musician who forces his friendship upon George, and Malone as his long-suffering daughter, who may or may not want anything to do with him: their final scene is especially a touching one, a poignant statement for someone who's unsure where he's going next. The satisfying but gloomy "Time Out of Mind" is a worthy tale, though I wish it were given a wider release and a push for awards consideration, especially for Gere and Vereen.

Goosebumps - B

Jack Black

Rated PG, 103 minutes

The creepy fun new horror comedy for young folks, "Goosebumps" is perfect fun for teens, tweens and other young ones: it's busy, busy and full of energy, with a short attention span, but note that for young kids, it's brims with an level of intensity - in other words it may be too scary for those under 10. Teenager Zach (Dylan Minnette of "Saving Grace") is new to town and meets new neighbor Hannah ("The Giver's" Odeya Rush) whose father is R. L. Stine (Jack Black), writes the "Goosebumps" stories and keeps all the monsters in the series locked up in his manuscripts. Zach and his friend Champ (Ryan Lee of "Super 8") unintentionally open one of Stine's books, leading to the release of everyone from the manuscripts like Slappy the Living Dummy (voiced by Black), the Abominable Snowman, The Werewolf of Fever Swamp, the Giant Mantises, and the living lawn gnomes. Now the four must team up to put the monsters and Ghosts back where they came from before they cause some serious damage. Directed by Rob Letterman ("Shark Tale") and written by Darren Lemke from a story by acclaimed writing team of Scott Alexander and Larry Karaszewski (who have written numerous films including "Problem Child" to last year's Tim Burton drama "Big Eyes"), based on Stine's very popular and prolific (over 60 of them) children's book series, "Goosebumps" is creepy fun that bounces with energy from one scene to the next and filled with so much CGI it may give adults a headache, but otherwise it's a fun, sometimes scary ride. Scored by veteran "Batman" composer Danny Elfman, it's cookie-cutter, predictable plotting reminds of numerous flicks like "Gremlins" or "Tremors" in which seemingly unstoppable creatures are unleashed, but then that could very well be the point, though its target audience may not really get its satirical, even sarcastic tone, just that there's loads of semi-cool looking monsters causing lots of damage. "Goosebumps" does prove one thing: that it's possible, with a ton of CGI visuals and special effects, to actually upstage Jack Black, who's remarkably restrained but still memorably goofy here in a fictional version of author Stine, who's indeed a living, breathing person (and much older than Black). Though there's no bloodshed, it's still pretty creepy stuff, especially some of the creatures, most of whom are actual characters in Stine's books, particularly Slappy, those enormous bugs and of course the creepiest in my opinion, the gnomes, which might have Expedia rethink its commercials; on that note: I wouldn't recommend it for any children under age 8 or 10 unless accompanied by an adult to help contain them. "Goosebumps" is full of boundless energy, dizzying visuals and serviceable, enjoyable entertainment, and remind your kids to hold on tight, that it's all in good fun and will eventually come to and end, just think twice about going again.

He Named Me Malala - B+

Rated PG-13, 87 minutes

The powerful, uplifting new documentary tells the story of Pakistani activist Malala Yousafzai, who won the 2014 Nobel Peace Prize for her challenging work promoting equal rights in her native country. Directed and written by Davis Guggenheim, who directed such notable documentaries as the Oscar-winning "An Inconvenient Truth" and "Waiting for Superman," "He Named Me Malala" is a moving, intimate portrait of one of our century's most unlikely activists and civil rights leaders.  The film documents Yousafzai's story, who was wounded when Taliban gunmen opened fire on her and her friends' school bus in Pakistan's Swat Valley. The then 15-year-old teenager, who had been targeted for speaking out on behalf of girls' education in her region of Swat Valley in Pakistan, was shot in the head, sparking international media outrage. An educational activist in Pakistan, Yousafzai has since emerged as a leading campaigner for the rights of children worldwide, which helped her win the 2014 Nobel Peace Prize, the youngest recipient of the award ever. Most of us are still trying to make our way by the age of 17, yet for Malala Yousafzai, she has been shot at and nearly killed by the Taliban, has traveled the war over speaking out for equal rights for women and children and won the Nobel Peace Prize, and we can only imagine what will be ahead of her for this bright young girl from Pakistan, who now lives in England because of the significant dangers of living in her own country. "He Named Me Malala" goes into fascinating detail telling Malala's story through interviews, photographs and animated images, though the most telling part of Guggenheim's documentary is when he lets Malala be the normal girl, perusing the internet looking at pictures of Brad Pitt or teasing her younger brothers; it strikes the dichotomy between international, award-winning civil rights leader and a your average, whip-smart teenage girl who simply wants equal rights for all. Guggenheim's documentary tends to skim the surface on a few details of Malala's family life, particularly her mother, who tends to be camera shy, as well as the mixed reactions to her from her native country, which would be unsurprising with its very traditional, old-school society. Still, the award-worthy, satisfying documentary "He Named Me Malala" is an inspirational tale of courage and standing up to speak out for what is right, even if it may promote significant societal and cultural change, and it's a must see especially for teenagers and other young folks who feel they may not have a voice. 

Pan - D

Hugh Jackman

Rated PG, 111 minutes

Well someone must've thought this was a good idea. It was likely someone in Hollywood, given that anyone associated with the original Peter Pan work likely would have steered the ship clear of this one. J.M. Barrie, author of that classic children's novel must be turning over in his grave at the sight of the disastrous, dull and unnecessary prequel "Pan," which plays like a strange acid trip lacking the magic of the real story. Living a bleak existence at a London orphanage, 12-year-old Peter (Levi Miller) finds himself whisked away to the fantastical world of Neverland. Adventure awaits as he meets new friend James Hook (Garrett Hedlund) and the warrior Tiger Lily (Rooney Mara). They must band together to save Neverland from the ruthless pirate Blackbeard (Hugh Jackman). Along the way, the rebellious and mischievous boy discovers his true destiny, becoming the hero forever known as Peter Pan. Directed by Joe Wright ("Atonement" and "Hannah"), and written by Jason Fuchs ("Ice Age: Continental Drift") based on Barrie's original story, this CGI-loaded epic origin story made my head hurt and is the "Waterworld" of Peter Pan films: big, bad and expensive, and not even a bucket load of that magic fairy dust could save this pirate ship from crashing and burning. There are some bursts of energy and fun, and Miller is a handsome Peter, but not much of it made any sense even in the fantasy world this is set in, wasting an otherwise talented, though largely miscast, cast of actors. Most unfortunate is Oscar-nominee Jackman as Blackbeard, who's subjected to wearing an awful get up that's as weird and clunky as the movie itself  - by the way, those big Neverland birds actually kinda freaked me out. Also scary are two other key miscastings that hurt the movie: the bland Garrett Hedlund, who lacks the depth and gravitas for Hook, and lily (pun intended) white Rooney Mara as Tiger Lily, which is usually played as by a Native American, an unusual casting move that makes it feel even stranger given the actors playing her tribemates aren't caucasian. It also doesn't help that "Pan" is considerably uneven: a sluggish start and the strange sequences with Blackbeard give way to its sentimental, CG-loaded climax that will have most audiences scratching their heads. Director Wright shouldn't feel too bad, even Spielberg couldn't get the Peter Pan story right either in the 1991 flop "Hook," and ironically it was a revisionist story, and Spielberg went on to greater heights with the Oscar-winning "Schindler's List" after "Hook." The bizarre and unsatisfying "Pan" may hold some interest for those who enjoy the Peter Pan story, but it's far from magical, or award-winning in any way, however it's so bad it could become a cult classic in the future. Until then, I'd stay far away from this mess.

Freeheld - C+

Rated PG-13, 103 minutes

The Supreme Court's recent decision on gay marriage was a huge win for gay rights, though its roots go back much further. One important milestone was the case of New Jersey cop Laurel Hester and her partner Stacie Andree. The well-acted and well-cast, uplifting new drama "Freeheld" details their story despite the fact it feels like it belongs on the small screen. Diagnosed with terminal cancer in 2005, decorated New Jersey detective Laurel Hester (Julianne Moore) wishes to leave her pension benefits to domestic partner Stacie Andree (Ellen Page). Denied by local county officials, Laurel receives help from hard-nosed colleague Dane Wells (Michael Shannon) and activist Steven Goldstein (Steve Carell), who unite to rally fellow police officers and ordinary citizens to support the couple's fight for equality. Directed by Peter Sollett ("Nick and Norah's Infinite Playlist"), written by Ron Nyswaner ("The Painted Veil") and based on the 2007 Oscar-winning documentary short of the same, "Freeheld" is an honorable movie with an honorable story to be told, though without Moore superb, honest performance, it would be another bland TV-movie-of-the-week illness story. The talented cast in general holds the film together, with Page, Shannon and Carell all contributing nice supporting performances; I will say Carell isn't the best fit for a serious film such as this - at a recent screening, he elicited laughs when he appeared onscreen - though he does steal scenes in a stereotypical role as real activist Goldstein, who helped Hester gain some attention for her battle against the Freeheld (which is the name for the county government in New Jersey). Moore's vivid portrayal of Hester is a moving one, even if Nyswaner's script is strictly by-the-numbers, also changing some key facts of the story (including: Hester was already a lieutenant, here she is promoted on her death bed, and she wasn't as closeted as the movie made her out to be) for dramatic and emotional effect.  Whether you know the story or not, "Freeheld" is predictable and touching, with the outcome hardly a surprise, and it won't be a surprise if Oscar-winner Moore, who won Best Actress just last year, snags another nomination for this performance. For a better treatment, check out Cynthia Wade's (who serves as producer on this film) affecting documentary short of the same name.

99 Homes - B

Rated R, 112 minutes

Andrew Garfield and Michael Shannon

If you've ever owned a home, you know what a sacrifice it can be to maintain such an important investment. That's the main focus of the familiar yet intelligent new thriller "99 Homes," an economically relevant of doing what it takes to survive. Single father Dennis Nash (Andrew Garfield) is evicted from his home, yet his only chance to win it back is to go to work for Rick Carver (Michael Shannon), the charismatic and ruthless businessman who evicted him in the first place. It’s a deal-with-the-devil that provides security for his family; but as Nash falls deeper into Carver’s web, he finds his situation grows more brutal and dangerous than he ever imagined. Directed by Ramin Bahrani ("Man Push Cart" and "At Any Price") and co-written by Bahrani and Amir Naderi, "99 Homes" is a superbly-acted, pertinent drama of survival and making money off good people's misfortunes. Shannon's memorable turn as the greedy businessman named Carver who's seemingly figured out how to build an empire off of people's mistakes is the chief highlight to see the film, while "Spider-Man's" Garfield is also good as the hardworking guy drawn into Carver's tangled web, though he realizes he may not have the conscience to force people out of their homes as skillfully as his mentor does. "99 Homes" is essentially the real estate version of Oliver Stone's classic "Wall Street," with Carver as the real estate Gordon Gekko and Garfield as Charlie Sheen's Bud, with the younger striving for more of an annoying good conscience that can get in the way of a good business deal ("Never get emotional about the house," Carver tells Nash over and over). Unlike the buying and selling of millions of dollars of stocks, many people can likely relate to the everyday investment that is a house, and some of the movie's more affecting - and tense - moments comes when Nash must destroy someone's livelihood and literally put them out on the street. Except for a vaguely touching ending that is frustratingly out of place, Bahrani's "99 Homes" is a satisfying look at personal and economic meltdowns we all go through, aided by a vicious performance from the underrated Shannon.

Goodnight Mommy - B

Rated R, 99 minutes
In German with English subtitles

The 2014 Austrian horror film "Goodnight Mommy," nominated for the 2014 Oscar for Best Foreign Film, is one of the more chilling, disturbing horror films seen in awhile, relying on a slow-burn tension rather than blood and guts. The twisty ending is a tad anti-climactic in a M. Night Shyamalan sort of way, but it's still a treat for horror enthusiasts. It's the heat of the summer. A lonesome house in the Austrian countryside between woods and corn fields. Nine-year-old twin brothers Elias and Lukas (real twins Elias and Lukas Schwarz) are waiting for their mother (Suzanne Wuest). When she comes home, bandaged after cosmetic surgery, nothing is like before. The children start to doubt that this woman is actually their mother. It emerges an existential struggle for identity and fundamental trust. Co-directed and co-written by Veronika Franz and Severin Fiala, the tense, disquieting Austrian horror film "Goodnight Mommy" is worth a look, held together by its small cast. For some reason, horror films are often more chilling when kids are involved, and the charming Schwarz twins give among the most scary turn since Haley Joel Osment in Shyamalan's "The Sixth Sense," just think of Haley Joel Osment times two (or Haley Joel Osment good cop and Haley Joel Osment bad cop). Wuest is also good as the unstable, though later, terrified mother; "Goodnight Mommy" seemingly works an intense three-person play that blurs the line between good and bad, and you're completely unsure until the ending of who's really good and who's bad and who just enjoys hanging around. One thing in particular that will make you squirm is those enormous roaches and bugs that the boys like to collect and place in the most unusual of places, not to mention a dead cat and some well-used super glue. Like many in this genre, the filmmakers have a penchant for that shocking plot twist that you should've seen coming all along, and it's one of "Goodnight Mommy's" few disappointments, but that chilling final shot of mother and sons will stay with you after you leave the theater.

Coming Home - B

Rated PG-13, 111 minutes
In Mandarin Chinese with English subtitles

The 2014 Chinese love story "Coming Home" is a bittersweet, well-acted and handsome tale of losing and rediscovering love. From noted Chinese director Zhang Yimou ("Raise the Red Lantern") and starring his lovely muse, Gong Li, who have collaborated on 8 films total, if you enjoy foreign-made love stories, then this is for you. Lu Yanshi (Chen Daoming) and Feng Wanyu (Li) are a devoted couple forced to separate when Lu is arrested and sent to a labor camp as a political prisoner, just as his wife is injured in an accident. Released during the last days of the Cultural Revolution, he finally returns home only to find that his beloved wife has amnesia and remembers little of her past. Unable to recognize Lu, she patiently waits for her husband's return. Directed by Yimou, whose directed numerous films have included "House of Flying Daggers," "Hero" and "Curse of the Golden Flower," and written by Zou Jingzhi ("The Grandmaster"), "Coming Home," not to be confused with the 1978 Oscar-winning war drama of the same name, is a poignant soap opera filled with some sad yet touching moments. The story is more of a personal one for Yimou, who tends to make bigger films about war on a more epic scale, and it's a nice change of pace. The film, which has been a big hit overseas, also features some of Yimou's trademark stellar production values, with costumes, sets and music all adding some nice details which help the story. "Coming Home" is much braver, though much more downbeat, than anything Nicholas Sparks, who should take cues from Yimou when dealing with issues such as amnesia. The lovely and Li and stoic Daoming are great as the couple trying to rekindle what they once had, and they have some great, bittersweet moments together. "Coming Home" is nothing new, but it's still a satisfying look at lost love, and have those tissues handy, you'll need them for a few scenes, especially the touching ending.

A Brilliant Young Mind - B-

Asa Butterfield is "A Brilliant Young Mind"

Unrated, 111 minutes

It doesn't take an episode of the TV show "The Big Bang Theory" to realize how awkward math nerds can be, though they need love and acceptance too. The heart-warming, calculated British dramedy "A Brilliant Young Mind" explores the mind of a young teen who could easily be Sheldon's more serious, British cousin. The movie focuses on an awkward teenage English math prodigy named Nathan ("Hugo's" Asa Butterfield) who has difficulty understanding people, including his mother (Oscar-nominee Sally Hawkins) and his unconventional math teacher (Rafe Spall of "Anonymous") but finds comfort in numbers. When he is chosen to represent Great Britain at the International Mathematical Olympiad, Nathan embarks on a journey in which he faces unexpected challenges, such as understanding the nature of love. Directed by Morgan Matthews and written by British playwright James Graham, the British-made dramedy, originally released as "X+Y" in Great Britain, is a familiar but poignant tale of a math nerd who must realize it doesn't take numbers to love and be loved. From comedies like "Big Bang" to Oscar-winning tales like "A Beautiful Mind" (which this film will easily become confused with, due to "mind" in the title - go figure), this story has been told many times, but with a talented, memorable cast who makes "Brilliant Mind" work, it a satisfying look at how difficult it can be being so smart. The lithe Buttefield of "Hugo" fame captures Nathan's oddness and social awkwardness perfectly (as does his younger 9-year old version, Edward Baker-Close), Spall steals scenes as his crusty teacher, and in a tender, emotional performance that grounds the film so well, Hawkins is so affecting as the mother who seems normal but just wants to relate to her son. There are too many flashback scenes that want to tell an unnecessary backstory, and you have a sense of what will happen when he goes to Taiwan for the big meet and befriends his female counterpart (the lovely Jo Yang), though you better have tissues handy for some scenes, especially anytime Hawkins is onscreen. "A Brilliant Young Mind" is nothing new, but it still adds up to a worthy experience, and one of the better entries in the awkward smart kid genre.

Meet the Patels - B

Rated PG, 87 minutes

If you thought you had it rough as a growing-older single adult, try meeting thirty something Indian-American actor Ravi Patel (seen mostly on TV), who must balance cultures of dating and marriage. Patel co-directs and co-stars in the funny, engaging new documentary "Meet the Patels" along with his older sister Geeta, who is also single as well as the rest of his extended family. The film documents Ravi's experiences of finding the right mate, within the confines of a traditional Indian culture in which marriages are arranged, in spite of living in the U.S. Ravi enters a love triangle between the woman of his dreams...and his parents. Charming, heartfelt and often hilarious, the documentary "Meet the Patels" offers some insight into the Indian culture while also finding the right mate. Patel's humorous take on dating and Indian families and culture is especially fun, detailing how common the Indian name Patel is - it's equivalent to Smith in the U.S. - not to mention how common matchmaking is in Indian culture. Ironically, Ravi's mother is an expert at fixing others up, except for her own children, both of whom were single (at least during the making of the film). Ravi must put together and distribute his own "biodata," which is sort of like a matching resume, with his parents overseeing it. They are allowed to "date" American style then the marriage is ultimately decided upon by the couple's parents. As Ravi begins to date, there's some unexpected and awkwardly hilarious moments, and his well-meaning parents don't realize how intrusive they're being. Patel and his sister, who co-directed the film, use extensive comic-book style animation and illustrations to make their point, and while that is fun, it's often unnecessary, such as "interviewing" an animated version of Ravi rather than just speaking directly to him in human form. By the end of "Meet the Patels," it becomes a bit redundant - we get the point (and some of the "dates" seem a little manufactured) - but it ultimately speaks to the power of family bonds and love. As true in just about in any culture, there's the saying "when you marry a person, you marry their family too" and that's especially true in Indian culture.

Mississippi Grind - B

Rated R, 108 minutes

The gritty, well-acted new drama "Mississippi Grind" is part buddy road trip, part character study, and while it's tone is often a pensive one, you won't want to bet against it. Gerry ("Bloodline's" Ben Mendelsohn) is a talented but troubled poker player, but with his debts mounting, his gambling habit is getting the best of him. One day, he meets a charismatic young traveler named Curtis ("Woman in Gold's" Ryan Reynolds). Deeming Curtis his lucky charm, Gerry convinces him that they should hit the road together, to a high-stakes poker game in New Orleans, and this trip will reveal more about the ambitions and motivations of each man. Directed and written by Ryan Fleck and Anna Boden, the duo behind such films as "Sugar" and "It's Kind of a Funny Story," the low-budget indie drama "Mississippi Grind" is a downbeat but tough story of two guys who won't give up until they score the big win. Much of it feels familiar (it reminded me thematically of the 2003 dark drama "The Cooler" starring William Macy and Alec Baldwin) but it's also an interesting, nicely acted character study, with a superb turn from Australian, Emmy-nominated actor Mendelsohn as the down-on-his-luck, gambling addicted Gerry, whose tide changes when he meets the charming Curtis, played by Reynolds in a solid, believeable turn for the actor who has been appearing in more independent films like this and the well-received "Woman in Gold." Aside from the engaging gambling sequences, it can be a little slow and depressing, especially in the last act when Gerry is trying to tie up some loose ends. Watch for Analeigh Tipton ("Warm Bodies") and Sienna Miller ("American Sniper") as the ladies in their lives, in the drama that was filmed throughout the South, in Alabama in Louisiana. The affecting, slow-moving character "Mississippi Grind" may not appeal to everyone but it's a satisfying look at those with gambling addictions.

Finders Keepers - B

Rated R, 82 minutes

The fascinating, engaging new documentary "Finders Keepers" will become affectionately known as the "foot in the BBQ doc" and it's one of those stranger-than-fiction/has-to-be-seen-to-be-believed type of stories, but it also a bittersweet story of change and family roots that most can relate to. Recovering addict and amputee North Carolina resident John Wood finds himself in a bizarre battle to reclaim his mummified leg from Southern entrepreneur Shannon Whisnant, who found it in a grill he bought at an auction in 2007 and believes it to therefore be his rightful property. Co-directed by Bryan Carberry and J. Clay Tweel, the latter of whom co-produced the equally fun 2007 documentary "The King of Kong: A Fistful of Quarters," the absorbing, bittersweet story is alternately weird, sad and funny, and perfectly captures what happens when the 15 minutes of fame and fortune come to regular people. This time it just happened to people living in the deep South with accents that may be different than yours and mine, and if you can relinquish some (but not all) of your "white trash" sensibilities - which is actually part of its fun - then you can see that the story can apply to just about everyone, given everyone's imperfections. Whisnant for one, wanted to profit off of it (charging people upwards of $3 to view it not to mention making customized T shirts of it), while Wood clearly had some substance abuse issues, both of which are detailed in the story; the first part of "Finders Keepers" is the crazy, funny hard-to-believe part, while it turns very serious in the second half as it delves into each man's demons. Wood's story, dealing with addiction and family problems - he lost in his leg in a small plane crash of a plane he was piloting that killed his father - is the more compelling. If you know anything about the story, it was actually resolved in an equally crazy way - on the TV show "Judge Mathis" -  but it also helped Wood get the help he needed (too bad Judge Mathis isn't interviewed here, would've been nice to see what he really thought). Especially in its final act, "Finders Keepers" is too melancholy and redundant when it focuses on what could've been, but Tweel and Carberry strive to keep it upbeat, especially in its coda, when finds both men moving on to different lives. All amazing what a leg in a BBQ does to people. This worthwhile documentary is one of the year's best, and deserves to seen.

The Martian - A-

Rated PG-13, 140 minutes

Matt Damon

The new drama "The Martian" is a sensational return to space for "Alien" director Ridley Scott, and there are no hostile creatures to be concerned about, except for an often hostile planet of Mars. Thrilling, funny and visually stunning, "The Martian" doesn't disappoint Scott fans or fans of the novel upon which it's based. A human mission to Mars goes awry, and astronaut Mark Watney (Matt Damon) is presumed dead and left behind on the planet by his crew. Watney fights to survive in the harsh environment and to signal to others that he is still alive. Upon discovering Watney's signal, NASA, scientists all around Earth, and his crew members collaborate to find a way to rescue him. Directed by Scott and written by Drew Goddard ("The Cabin in the Woods") based on Andy Weir's best-selling book of the same name, "The Martian" is an exciting and often very humorous, intergalactic combination of "Saving Private Ryan" and "Cast Away" with an all-star cast headlined by the always charming Damon, who grounds the film memorably in an excellent turn. The rest of the large cast is great too, including Jeff Daniels, Chitewel Eijofor, Jessica Chastain, Sean Bean, Michael Pena, Kristen Wiig and Mackenzie Davis. The film is engaging, even in the extended moments that Damon's very smart Watney is traversing Mars alone, as the "best botanist on the planet Mars" does his best to survive; these moments best capture the humorous, sarcastic (and often profane) spirit of the book. In addition, there are a couple of main sequences from the book that are in the movie too, which should please fans of the book (it did for this one). Scott deftly mixes the humor along with some of his trademark, first-rate visuals and technical prowess which should easily capture some Oscar nominations for the veteran director, and just in case you're wondering, the Wadi Rum valley in Jordan stands in for Mars quite well. It goes on a tad too long, but the last, crowd-pleasing act is a breathlessly tense one as they have to literally go back out to space to grab Watney and bring him home. "The Martian" is a much more exciting, plausible and fun experience than last year's ridiculous "Interstellar" (which also, interestingly, featured both Damon and Chastain). Put this one on your must-see list, and expect to see it again come awards time.