Early Oscar Favorites: Best Picture and Director

The 88th Annual Academy Awards are not until Sunday, February 28th, but the awards season leading up to it is already in full swing. Many critics groups and other organizations have already bestowed their awards or announced their nominations, with the Oscar nominations announced on Thursday, January 14th.

Here is my very early list of Oscar predictions in some of the main categories. I will provide updated predictions as we get closer to the time of the nominations on the 14th. One site I rely on for help is http://www.goldderby.com/, which summarizes predictions and odds from numerous industry experts and critics. Keep in mind, this is less about my personal opinions of the films and what I think will be nominated.

I'll start with Best Picture and Best Director.

Best Picture

2014 had 8 nominees for Best Picture, the fewest number of films in this category since expanding the category in 2009. I believe there will be more nominees this year, at least 9 or 10.

At this point, it's  primarily a race between three films at this point: "Spotlight," "The Revenant" and "The Martian," though anything could happen between now and then.

"The Big Short" has gained considerable momentum in recent weeks, as well as "Star Wars: The Force Awakens" though that changed with the recent announcement of the Producers Guild Awards, a strong predictor for Best Picture; the PGA included "Ex Machina," "Sicario" and "Straight Outta Compton," the latter of which has also been surging in recent weeks; this list however also excluded favorites "Carol" and "Room," which hurts their chances. The Academy is usually good for a surprise or two, on that note I still expect "Carol" to be included here. Here is my revised list as of January 6, 2016.


"Spotlight"
"The Revenant"
"The Martian"
"Carol"
"Mad Max: Fury Road"
"Brooklyn"
"The Big Short"
"Bridge of Spies"
"Straight Outta Compton"


Don't count out:


"Room"
"Star Wars: The Force Awakens"
"Ex Machina" (received PGA nomination)
"Inside Out"
"Steve Jobs"
"The Danish Girl"
"Sicario" (received PGA nomination)


Personally, I think "Mad Max" is a good but vastly overrated film and doesn't belong here; many critics went crazy over it (but not me) and it's directed by the great George Miller, an Oscar winner for Best Animated film in 2006 for "Happy Feet." Likewise, the same for "Bridge of Spies," a solid film but not worthy to be included here but directed by Spielberg, an Academy darling in recent years.

Best Director

Ridley Scott is the favorite here for his exhilarating comeback with my favorite film of the year, "The Martian," though he has competition with the likely Best Picture winner, Tom McCarthy of "Spotlight," and last year's winner, Alejandro Gonzalez Innaritu, for the brilliant "The Revenant." Speaking of which, "The Revenant" is a better film than his Oscar-winning "Birdman," which is unfortunate, since it's unlikely he'll win again. These three are for sure, with the final slots likely going to Todd Haynes for the lovely "Carol" and George Miller for "Mad Max," though this category can be very unpredictable, given their penchant to nominate smaller films (like "Foxcatcher" or "Beasts of the Southern Wild").

These three are certain nominees:
Ridley Scott, "The Martian"
Tom McCarthy, "Spotlight"
Alejandro Gonzalez Innaritu, "The Revenant"

and likely these two:
Todd Haynes, "Carol"
George Miller, "Mad Max: Fury Road"

Don't count these out:
Danny Boyle, "Steve Jobs"
Tom Hooper, "The Danish Girl"
Lenny Abrahamson, "Room"
Steven Spielberg, "Bridge of Spies"
J.J. Abrams, "Star Wars: The Force Awakens"

If anyone upsets with a nomination, it'll be Abrahamson for the well-received, superbly-acted "Room," which I believe is a worthier nomination than the others listed here, with the exception of Boyle, though "Steve Jobs" has lost considerable ground with middling box-office since its release. I anticipate only a Best Actor and Screenplay noms for that film.

Early Oscar Favorites: Best Supporting Actor and Actress

Here's Best Supporting Actor and Actress.

Best Supporting Actor

At this point, there are two or possibly three names that can count on nominations, and they are Oscar-winner and Academy favorite Christian Bale for his stellar turn in the finance drama "The Big Short," Mark Rylance for his scene-stealing turn in "Bridge of Spies" and Idris Elba for his brutal turn in the drama "Beasts of No Nation." From there, it could be a number of people, including Michael Shannon in the critical favorite "99 Homes," Jacob Tremblay in "Room," Paul Dano in "Love and Mercy," Tom Hardy in "The Revenant," Sylvester Stallone in "Creed" and a pair from "Spotlight," Mark Ruffalo and Michael Keaton, both of whom were nominated last year. Stallone is gaining sentimental support for his winning turn as Rocky Balboa in "Creed" while Shannon received both Globe and SAG noms for his turn, and for now, I'm going with those for the final two slots.

For sure:
Christian Bale, "The Big Short"
Mark Rylance, "Bridge of Spies"
Idris Elba, "Beasts of No Nation"

And likely:
Sylvester Stallone, "Creed"
Michael Shannon, "99 Homes"


Best Supporting Actress

The two names you will for sure hear as nominees in this category are Alicia Vikander for "The Danish Girl" and Rooney Mara for "Carol," though it doesn't come without some controversy. They're both being promoted in this category, though both are clearly lead performances, with their studios feeling they have better chances in this category. It happens regularly - J.K. Simmons won Supporting Actor last year for what was a lead performance in "Whiplash" (and likewise Kate Winslet won Best Actress in 2008 for a supporting turn in "The Reader") - so it's not a surprise it's happening again, though the Globes put both ladies in the lead category, where they rightfully belong, but don't expect the Academy to follow.

There are two other certain nominees in this category, (ironically) Kate Winslet for her stellar turn in "Steve Jobs" and Jennifer Jason Leigh, stealing scenes in Tarantino's overlong Western "The Hateful Eight." The final slot could be a number of ladies: Jane Fonda for her minutes-long, hammy turn in "Youth," Helen Mirren as Hollywood legend Hedda Hopper in "Trumbo," Joan Allen in "Room," Rachel McAdams in "Spotlight" or Vikander again in "Ex Machina" (she's had a great year, appearing in several films). I'm going with Fonda or Mirren, with an ever-so-slight edge to Fonda, though I'd rather see Mirren or McAdams personally.

For sure:
Rooney Mara, "Carol"
Alicia Vikander, "The Danish Girl"
Kate Winslet, "Steve Jobs"
Jennifer Jason Leigh, "The Hateful Eight"

With the final slot likely going to:
Jane Fonda, "Youth"

Early Oscar Favorites: Best Actor and Best Actress

Here's Best Actor and Best Actress.

Best Actor

This one is by far the easiest category this year, with Leonardo DiCaprio's name all over it this year, and while I'm personally not a huge fan, he's deserving of this one for his all-out, down-and-dirty method turn in the brilliant "The Revenant." I'd be surprised if he doesn't win. His biggest competition comes from Michael Fassbender's great performance as the iconic Apple CEO in "Steve Jobs" and last year's winner, Eddie Redmayne, as a real-life transgender pioneer in "The Danish Girl."

There are three for sure, and they are:
Leonardo DiCaprio, "The Revenant"
Michael Fassbender, "Steve Jobs"
Eddie Redmayne, "The Danish Girl"

Also a likely nominee is:
Matt Damon, "The Martian"

The last slot is up for grabs, and will likely go to:
Bryan Cranston, "Trumbo"

Possible nominees may include:
Johnny Depp, "Black Mass"
Will Smith, "Concussion"
Michael Caine, "Youth"

Though the Academy loves Caine, "Youth" is a fine but little-seen drama about aging, while Smith's "Concussion" is losing ground to mixed reviews. That last slot will be either Cranston or Depp, and for now I'm going with Cranston, who's received both Golden Globe and SAG nominations.

Best Actress

Unlike Best Actor, Best Actress is a more difficult category this year given many fine female performances this year, and it'll be mixed with newcomers, past winners and veterans with first-time nominations. There are also performances that blur the line between lead and supporting, given that both Alicia Vikander for "The Danish Girl" and Rooney Mara for "Carol" are both lead performances but will likely be pushed for supporting turns (the Golden Globes didn't see it that way and nominated both ladies as leads).

Brie Larson for the excellent "Room," previous Oscar-winner Cate Blanchett for the groundbreaking "Carol" and Saiorse Ronan for the tender drama "Brooklyn" are all in. From there, it will get interesting. Veteran Charlotte Rampling is gaining support for the fine drama "45 Years," and I could easily see her receiving her first nomination. As for the last slot, it could go to a number of different people, including comedian Sarah Silverman, for her surprising SAG-nominated performance in the little-seen drama "I Smile Back," Academy darling Jennifer Lawrence in "Joy," which is receiving mixed reviews, Carey Mulligan in the little-seen drama "Suffragette," Oscar-winner Helen Mirren for her SAG-nominated turn in "Woman in Gold" and Golden Globe nominees Lily Tomlin for "Grandma" (which I would love) or Maggie Smith in "The Lady in the Van," which opens wide in January. Of these, I'm going with Lawrence or Mirren, if nothing else for name-recognition.

Certain nominees are:
Brie Larson, "Room"
Cate Blanchett, "Carol"
Saiorse Ronan, "Brooklyn"

Likely:
Charlotte Rampling, "45 Years"

with the final slot going to:
Jennifer Lawrence, "Joy"

Wes's Year End List for 2015 - Part I: The Best Films

Admittedly, I always approach the end of the year with a little fear and trepidation. After seeing over 200 movies, you begin to wonder, now what did I see? And with so many movies thrown at critics at year end, it become a bit of a frenzy with awards season upon us. 2015 was a solid year for film with some stellar offerings at the end of the year. Last year at this time, it was already shaping up a two-way race between "Boyhood" and the eventual winner, "Birdman" but at this point, it can go anyway. "The Revenant," "Spotlight" and "The Martian" (along with others) all have a strong case to make it go their way.

After reviewing my reviews, here is my best and worst for 2015. I list my top film for the year, followed by the complete top 10 (in no order), honorable mention and the 5 worst films of the year. This first part is the year's best. Part II, in a separate blog post, will cover the worst films of the year.

My favorite film of the year is (drumroll please):

The Martian
This brilliant, breathtaking space film is the year's best and smartest science fiction film and a terrific return to form for director Ridley Scott, who is long overdue for a Best Director Oscar. Based on Andy Weir's excellent 2011 novel, the fascinating, engaging story is about an astronaut (Matt Damon, who grounds the film well) in the near future stuck on Mars and finding his way home. Part survival and part action, it did what last year's "Interstellar" failed to do: make science-fiction both believable and thrilling. If you haven't seen this compelling, often exhilarating movie, make your plans to do so now.

Here's the rest of my top 10:

The Revenant - Director Alejandro González Iñárritu, who won the Best Director and Picture in 2014 for "Birdman," does it again, really outdoing himself. The dark, character-driven epic Western is brutal and bloody and in many a better film than his thought-provoking "Birdman" and features the year's single most electrifying scene, a startling gruesome bear attack (not rape as you may have heard). Leonardo Di Caprio, in full method actor mode, is certain to win the Oscar, and while I'm not necessarily among his biggest fans, he's overdue for the award, give it to him and get it over with, please. If there's one film you have to see year-end, it's this one and it will be up for Best Picture, Director and Actor Oscars for sure.

Son of Saul - This unique, affecting and harrowing Hungarian film about one man's (Hungarian poet Géza Röhrig) survival in a World War II concentration camp and his quest to bury his deceased son will haunt you and stay with you long after you leave the theater. Expanding nationwide in January, this film is brilliantly directed by Lazlo Nemes in a very auspicious debut as feature film director (not to mention Rohrig's acting debut). The opening scene, featuring a long tracking shot following the main character into the camp, is startlingly unforgettable, not to mention the rest of the film, including the heartbreaking finale. A shoo-in for this year's Best Foreign Language Film Oscar. My full review of "Son of Saul" will be posted closer to the film's opening in January.

Brooklyn -  One of the year's most tender, well-acted films, this sweet love story is exquisitely acted by "Atonement's" Sairose Ronan in the lead role in her most mature role to date. Based on Colm Toibin's novel of the same name, it's about an Irish girl who immigrates to 1950s New York City in search of a new life and finds the true meaning of love and family. "Brooklyn" is filled with many compelling, sensitive moments that reminds of classics like "A Tree Grows in Brooklyn."

Spotlight - One of the year's most powerful, relevant films. Directed and written by "The Visitor's" Tom McCarthy, this fact-based drama is about corruption and abuse in the Catholic church in Boston, is also superbly acted by a strong ensemble cast including Michael Keaton, Mark Ruffalo, Rachel McAdams and Liev Schreiber. It certainly has the qualities of a Best Picture winner, but with middling box-office, we'll see how much momentum it has going into the awards season. Still, an excellent film reminding of the power of another shocking investigation, "All the President's Men."

Room - Based on Emma Donoghue's best-selling novel of the same name, this low-budget independent film directed by "Frank's" Lenny Abrahamson is likely the year's most powerful, superbly acted and often heartbreaking film. About a young mother and her son held hostage, it's part survival, part escape and part adjustment to a new world. As the young mother and her young son, Brie Larson and especially 10-year old Jacob Tremblay give brilliant, moving performances that will garner some attention. Put this one on your list to see.

Beasts of No Nation - This brutal, harrowing tale of a young boy survival a bloody civil war in his native African homeland is one of the year's most powerful, but also difficult to watch. Newcomer Abraham Attah is wonderful, as is Idris Elba as his brutal commandant and father figure, and it's no surprise he's already garnering awards notice (SAGs and Golden Globes) and expect much more. It's still streaming on Netflix if you didn't catch its brief theatrical run.

Steve Jobs - One of the year's most fascinating, superbly acted bio drama's, about Apple founder Jobs, it's unfortunate that director Danny Boyle's and writer Aaron Sorkin's fine film didn't find much of an audience at the box office. This gem features a finely tuned, pitch-perfect performance from Michael Fassbender, who looks nothing like Jobs but remarkably captures his spirit, as well as a solid supporting turn from Oscar-winner Kate Winslet as his trusted assistant. Sorkin's mesmerizing dialogue keeps this flowing, and mid-film it has one of the year's most exhilarating scenes, a back-and-forth debate between Fassbender's Jobs and one of Apple's CEO, played by Jeff Daniels.

Inside Out - Pixar strikes again in one of its most inventive and colorful animated films yet, about the inner emotions that drive us all. Richly voiced by Amy Poehler, Bill Hader, Mindy Kaling, Phyllis Smith and Lewis Black, you'll experience the gamut of emotions in this wholly original, funny and pensive film from the creative Dream Team at Pixar. It's a shoo-in for the Best Animated Oscar, but it's not too late to catch on DVD before the Oscars.

The Big Short - This dramedy is one of the year's most mesmerizing, powerful looks at the financial collapse of 2008, as told by the people who saw it coming and were able to legally profit from it. Smartly directed by the unlikely Adam McKay (Will Ferrell's frequent collaborator and former "SNL" writer) and featuring a strong ensemble cast, including Steve Carrell and Christian Bale, who could easily see Oscar-nominations for it as well as Ryan Gosling and Brad Pitt. Pertinent, colorful and quickly paced, it's definitely worth your time.

A few more to mention:
Carol, It Follows, Star Wars: The Force Awakens, Black Mass, Sicario, Mad Max: Fury Road, Amy, Love & Mercy, Ex Machina, The Danish Girl, Cartel Land, 45 Years, Straight Outta Compton, Creed, Trainwreck, Bridge of Spies, He Named Me Malala.

Carol -B+

Rooney Mara and Cate Blanchett

Rated R, 118 minutes

Love often knows no boundaries of time and space. That is the subject of the superbly acted, affecting new Todd Haynes romantic drama "Carol" that tells the love story of two women. Haynes, who tread similar ground in the Julianne Moore in 2002's "Far From Heaven," does a lovely job evoking the look and feel of 1950's New York City, in which the film is set. Therese Belivet (Rooney Mara) spots the beautiful, elegant Carol (Cate Blanchett) perusing the doll displays in a 1950s Manhattan department store. The two women develop a fast bond that becomes a love with complicated consequences. Directed by Haynes and written by playwright Phyllis Nagy and based on Patricia Highsmith's groundbreaking 1952 novel "The Price of Salt," "Carol" is a groundbreaking film: an emotionally satisfying, slow-moving and compelling portrait of a shopgirl (Mara) who becomes involved with the older housewife (Blanchett) who is caught in a divorce and custody battle over her daughter. The rich performances from both Mara and Blanchett become the highlight of the excellent "Carol," with added texture in the first-rate production design, costumes from Oscar-winner Sandy Powell (who'll likely be nominated again for this), handsome photography from Edward Lachman and the moving score by Carter Burwell. Considering the subject matter, don't expect it'll be tawdry, preachy or oversentimental, but a complex love story between two women handled with remarkable restraint and subtly, and these two have everything to lose: Carol has a child with her husband ("Friday Night Lights" Kyle Chandler) and Therese a burgeoning photographer. Haynes let the story unfold nicely and naturally and doesn't feel forced, though you have an idea of the heartbreak that will come for these ladies, who must choose between love and their existing commitments. Blanchett and Mara are sublimely convincing and engaging, and yes there is a mildly steamy love scene that's otherwise well-handled by Haynes. "Carol" is quietly powerful and moving and worthy of your time for the excellent turns by its leads, who should see many awards coming their way.

Wes's Year End List for 2015 - Part II: The Worst Films

Now comes the fun part, and a list that's generally easier to compose than the "best of" list. There were lots of mediocre films this year, and many others that were simply terrible. Some of these were popular films, and some of these you may have seen and enjoyed, but it wasn't a pleasant experience for this critic. And since Tyler Perry didn't have a film out this year, he didn't make the list. I will list my 5 worst films followed a few on the dishonorable mention list.

Here they are, my 5 worst films for this year (in no particular order).

Fantastic Four - This superhero film was as bad as you've heard, and then some. This was plagued with problems from the beginning, and though director Josh Trank is largely responsible, 20th Century Fox did no help by intervening, actually making the film worse. The bland film is slow and devoid of action or personality, and the film is too loaded with backstory that holds little relevance to the current story. This crash-and-burn film lost a ton of money, yet somehow Fox initially moved forward with a sequel, though now that seems highly unlikely.

War Room - OK, I know I'll get flack from my Christian friends over this. Don't get me wrong. I am a Christian. I believe in God, go to church regularly and pray, but this faith-based film did Christian filmmaking no favors. In spite of its good message, this third-rate film was a shoddy production, terribly acted and awfully preachy. I hate to be critical of Christian films due to their message and the fact they must have difficulty in funding, but in good conscience I just can't recommend this, and it still seems to be preaching to the choir. In spite of all this, it was still a huge hit and a big moneymaker for its producers, so (groan), expect more of these. I keep telling myself these films will get better, but I'm losing faith in this brand of movies, which proves that Christians have grace even when it comes to terrible movies.

Tomorrowland -Another big-budgeted summer flop that went South quickly and lost a whole bunch of money for its studio Disney. In spite of a good director and writer, Brad Bird, and a charming star, George Clooney, this utterly dumb sci-fi film made little sense from start to finish, and a save-the-planet ending that wants you to hold hands and hug a tree. Bafflingly inane, at least it had some terrific trailers, which had little to do with what was actually in the movie.

Pan - This awful big-budgeted Peter Pan origin story and reimagination flopped badly, underscoring what a sucky year that its studio Warner Bros. has had ("The Man from U.N.C.L.E.," "Jupiter Ascending" and "Hot Pursuit" among its many other flops this year). It didn't help that this baffling, confusing and silly movie, directed by Joe Wright ("Atonement") and starring Hugh Jackman in one of the strangest pirate getups I've ever seen (not to mention singing Nirvana), also had two of the worst cases of miscasting, with the bland Garrett Hedlund as Hook and caucasian Rooney Mara as Tiger Lily - can you say whitewash?

Fifty Shades of Grey - Unsurprisingly, this bland, tame and badly assembled, rushed production (based on E.L. James tawdry, terribly written novels), was a big hit way back in February, mainly for those who showed up in its first week to see what this was all about. They quickly discovered it was all hype and really a crashing bore. Directed by Sam Taylor-Johnson in lackluster fashion and with zero chemistry from its stars, Dakota Johnson and Jamie Dornan, it watered down the S&M so much the climax was just plain laughable. Expect sequels, but really, what a big waste of time.

Here's a few more:
Jupiter Ascending, Mortdecai, Hot Tub Time Machine 2, Seventh Son, Get Hard, The Wedding Ringer, Paul Blart: Mall Cop 2, Little Boy, Hitman: Agent 47, Pixels, Stonewall, Jem and the Holograms, Our Brand is Crisis, Rock the Kasbah, Love the Coopers, Hot Pursuit.

The Revenant - A-

Rated R, 156 minutes

The remarkable, brutal and brilliant "The Revenant" is one of the year's most intense films and a must-see. Directed and written by last year's Oscar-winner for director Alejandro G. Iñárritu and based on Michael Penke's nonfiction novel of the same name, "The Revenant" is loosely inspired by real events and characters and perfectly captures the brutality and survival of the fittest, with a heavy dose revenge and redemption. If you saw Iñárritu's "Birdman" last year you know what a unique experience that was; "The Revenant" is a better film on many levels and should wow those interested in the technical side of filmmaking. In an expedition of the uncharted American wilderness, legendary explorer Hugh Glass (Leonardo DiCaprio) is brutally attacked by a bear and left for dead by members of his own hunting team. In a quest to survive, Glass endures unimaginable grief as well as the betrayal of his confidant John Fitzgerald (Tom Hardy). Guided by sheer will and the love of his family, Glass must navigate a vicious winter in a relentless pursuit to live and find redemption. The satisfying, entertaining "The Revenant," in all its brutality, isn't a film for everyone, the violent, bloody bear attack early in the film is considerably difficult to endure, but you won't look away, either and is a worthwhile experience in the end that will stay with you after you leave the theater. It also helps that the movie is a technical achievement, with Oscar-winner Emmanuel Lubezki's breathtaking, gritty photography the real highlight and could give him his third Oscar in a row after winning for 2013's "Gravity" and Iñárritu's own "Birdman" last year. The revenge narrative is well-worn, and its mid-section could've been trimmed down some, but Iñárritu and company draw you in and don't let you go until the bloody, final showdown between two of cinema's foremost method actors, DiCaprio and Hardy, both of whom are shoo-ins for Oscar nominations. Speaking of DiCaprio, and truthfully speaking I'm not his biggest fan - yes, this turn seems as shameless as Anne Hathaway's "Les Miserable" grab for the golden guy - but it's also an admittedly memorable one that should catapult him to Oscar glory; by the time he hops into a gutted horse to stay warm during a brutal winter, you're thinking this guy will do anything to get that Oscar. I say it to him and go on.  Awards aside, "The Revenant" is a worthwhile, superbly acted film you should make time for this winter.

Point Break - D

Luke Bracey

Rated PG-13, 113 minutes

"Point Break" is a pointless, bland remake of the 1991 cult classic of the same starring Keanu Reeves and Patrick Swayze. This confusing update is little more than an advertisement for extreme sports, and there's little to offer except wild stunts, ridiculous posing and stilted dialogue. A young FBI agent and former pro biker Johnny Utah (Luke Bracey of "The Best of Me") infiltrates an extraordinary team of extreme sports athletes led by Bodhi (Edgar Ramirez, "The Bourne Ultimatum") he suspects of masterminding a string of unprecedented, sophisticated corporate heists. Deep undercover, and with his life in danger, he strives to prove these athletes are the architects of the mind-boggling crimes that are devastating the world's financial markets. Directed by Ericson Core, cinematographer for "The Fast and the Furious" and written by "Salt's" Kurt Wimmer, "Point Break" is a muddled, empty affair that really a string of episodes featuring some elaborate, cool stunts including surfing, skiing, jumping from the highest points across the globe. Those stunts are clearly the most memorable thing about the movie, given that everything else in between is unmemorable and badly acted by the leads, including Australian actor Bracey and Ramirez, who have none of the charm or gravitas of the previous Reeves/Swayze pairing. The original 1991 film itself had some narrative issues and was by no means a great film, but compared to this bland effort, it looks like "Citizen Kane." The ridiculous plot doesn't help, and it's rather confusing as to why the FBI spends so much time on a milquetoast antagonist as Ramirez's Bodhi, who is "trying to give back to the Earth what we've taken." Whatever. "Point Break" is only good at stealing your time, given that with the exception of the amazing stuntwork done in the film, is largely a waste of time.

The Big Short - A

Steve Carrell and Ryan Gosling

Rated R, 130 minutes

There were few people who were not impacted by the economic collapse of 2008 when the housing market collapsed underneath a load of sub-prime, or risky loans, but few were smart enough to see it coming and profit from it. That's the premise of the mesmerizing, powerful dramedy "The Big Short," directed and written by Adam McKay ("Anchorman," "Stepbrothers" and more), and one of the most telling, unflinching looks at what went wrong with the American housing market in the 2000's. When four outsiders (Steve Carrell, Christian Bale, Ryan Gosling and Brad Pitt) saw what the big banks, media and government refused to, the global collapse of the economy, they had an idea: The Big Short. Their bold investment leads them into the dark underbelly of modern banking where they must question everyone and  everything. Based on Michael Lewis' best-selling non-fiction novel of the same name, the vastly entertaining "The Big Short" is a superbly acted, thought-provoking portrait of the flaws of capitalism; it may infuriate you but you still watch anyway. All of the principal players are real people and with the exception of Bale's Michael Burry, their names have been changed, a curiously odd decision given their well-known profiles in Lewis' book and within the industry. As outspoken hedge manager Mark Baum (based on real money manager Steve Eisman) who runs a small firm, and as the socially awkward but brilliant hedge fund manager Burry, Carrell and Bale, respectively are the most compelling standouts of the large cast. Much like the financial world, it throws a lot at you: it's a witty, colorful maze of financial terms, slick deals and fast-talking people who clearly know more than you. To help with many of the arcane financial terms that may lose a large chunk of the audience, McKay is smart enough to help you grasp it by having celebrity cameos such as Anthony Bourdain and Selena Gomez explain them in ways you can understand them (Bourdain's shrimp soup explanation on CDO's is especially good if you're hungry), a good move considering the movie's fast pacing and even quicker editing. What's most fascinating is that "The Big Short," both the movie and the investment concept, banks on the failure of the economy; as much as was lost during this awful time, there were still people profiting from it (though they did so legally). Don't hate them because they profited off people's misfortunes, hate them because they saw it coming before you and did something about it. "The Big Short" benefits from strong ensemble work and focused, smart direction from McKay, an unlikely choice here given all his low-brow collaborations with Will Ferrell, but the film is as relevant and more efficient than Scorsese's "The Wolf of Wall Street" (ironically, watch for that film's beauty, Margot Robbie, in one of the celebrity cameos). Place your bets on the satisfying "The Big Short," it's a winner and one of the year's best films.

Joy - C

Jennifer Lawrence

Rated PG-13, 126 minutes

"Joy" is a rather joyless effort. There's no question that Oscar-winner Jennifer Lawrence is David O. Russell's ("Silver Linings Playbook") muse, and the two are at it again in the sluggish but charming biographical drama "Joy," about the travails of a real woman and fantastically successful entrepreneur who faced many challenges along her journey. Much like the real person this is based on, the well-acted "Joy" gets off to a very shaky start, and once it focuses on what made her successful, it works much better, though Russell doesn't seem to have confidence in Mangano's story, given how uneven the film is at times. The film follows upstate New Yorker Joy Mangano (Lawrence), a divorced mother of three children, through four generations as she builds her business empire after creating the Miracle Mop. Through considerable challenges both emotionally and financially, the mop becomes a bit of a miracle itself, saving Mangano and her investors from financial ruin. Directed and written by Russell, "Joy" is part crazy family drama and part story about living the American dream on your own terms, yet it works much letter as the latter than the former. The first 30 minutes of the film, which explores Mangano's children and early dreams, is annoying expository look at her family life, and doesn't mesh well with the rest of the film and with some of the most grating characters seen in recent memory; her reclusive mother (Victoria Tennant) is of no help, she is divorced but friendly with her ex (Edgar Ramirez) with whom she shares three children, her warm grandmother (Diane Ladd) tries to provide emotional stability and encouragement (who for some reason narrates the movie), while her Dad (Robert DeNiro) and his wealthy new girlfriend (Isabella Rosselini) eventually become investors in her new product, a mop that cleans with little mess and still be reused. Once "Joy" makes a right turn into developing and selling the mop on QVC, with the help of one of its executives (another of Russell's favorite actors, Bradley Cooper, charming but unnecessary), it has its best, most entertaining and most compelling moments, all grounded the engaging Lawrence, who's good but miscast here: she's too young to be playing a mid-30's Mangano. If Oscar voters continue to shed love on Lawrence, she'll likely get another Oscar nomination, though it's her weakest role in a Russell movie to date. "Joy" isn't a terrible film, but it's a disappointment considering the talent and filmmaker behind one of my favorite films, "Silver Linings Playbook."

The Hateful Eight - C+

Samuel L. Jackson

Rated R, 182 minutes

The entertaining new Western from Oscar-winner Quentin Tarantino, "The Hateful Eight" is too long and too talky and doesn't really pick up steam until its last act, but when it does, it packs a good punch as only Tarantino can do. With his second Western in a row, "The Hateful Eight," most of which takes place in a large cabin in a blizzard, is not as fun or entertaining as his previous effort, "Django Unchained," playing to both his strength of writing good dialogue and his flaw of being way too self-aware. In post-Civil War Wyoming, John "The Hangman" Ruth (Kurt Russell) is escorting fugitive Daisy "The Prisoner" Domergue (Jennifer Jason Leigh) to Red Rock where the latter will face justice for murder. They encounter another bounty hunter named Major Marquis "The Bounty Hunter" Warren (Samuel Jackson) and Chris "The Sheriff" Mannix (Walton Goggins). A blizzard forces the four to take shelter at a stagecoach passover called Minnie's Haberdashery where they encounter four more strangers; Bob "The Mexican" (Demian Bichir), Oswaldo "The Little Man" Mobray (Tim Roth), Joe "The Cow Puncher" Gage (Michael Madsen), and ex-General Sanford "The Confederate" Smithers (Bruce Dern). Through betrayal and deception, the eight strangers soon learn that they may not make it to Red Rock after all. With a roadshow version that includes an unnecessary old-school overture and 15-minute intermission along with needless 70 mm, you'll be sitting awhile watching Tarantino's engaging, bloody and utterly profane "The Hateful Eight," though he's done better before. Things don't get truly moving until post-intermission, so you'll be forced to sit through most of it before seeing any delightfully bloody scenes that has become Tarantino's specialty: one major actor gets his head literally blown off while others meet untimely ends too. Speaking of which, QT has assembled a a terrific, expansive cast, most memorable of which is a gruff Russell, a Lincoln-letter carrying Jackson and a wide-eyed Goggins (if you've watched TV's "Justified" or "The Shield" you know him), not to mention a gleefully unhinged Leigh, who steals enough scenes to likely get her first Oscar nomination. "The Hateful Eight" could've been trimmed - a lot, especially in its first half - not to mention narratively it has some plot holes and Tarantino is sure loves his dialogue, but that last hour will please his fan base. I wish QT would learn that sometimes less is more, and on that note, your rear-end will be the happiest when it comes to its 182-minute close.

Daddy's Home - C

Will Ferrell and Mark Wahlberg

Rated PG, 96 minutes

Many parents struggle to find their way, and if its step-parenting, then its doubly hard. The unoriginal, predictable new comedy whose very thin premise is peppered with a few solid  comedic moments, provided by its lead Will Ferrell. Mild-mannered radio executive Brad (Ferrell), struggles to become a good stepfather to his wife's (Linda Cardellini) two children, but complications arise when their father, Dusty (Mark Wahlberg) arrives, forcing him to compete for the affection of the kids. Directed and co-written by Sean Anders ("Horrible Bosses 2"), the modestly entertaining but tiresome "Daddy's Home" reteams Ferrell and Wahlberg after their hit "The Other Guys" and plays to their specialties: Ferrell's uptight, awkward goofball and Wahlberg's brooding tough guy; while it's not completely devoid of laughs and with a much softer edge (i.e. far less profane) than Ferrell and his producing partner Adam McKay usually provide, much of it feels like filler or a pilot for a TV show. And while I know this is a comedy, even the most civil of ex-spouses might find "Daddy's Home" a little unrealistic, not to mention it's one of those comedies where you can feel the biggest laughs coming from a mile away, maybe it's because they're all in the movie's trailers: Ferrell's wild ride on a motorcycle, his tumble down a skateboard ramp and his drunken free-for-all on a basketball court. The dueling-jealous dad premise grows very tiresome after awhile, and the lame climax in particular feels forced, in spite of the charming second pairing of Ferrell and Wahlberg, who are both game but fall short in making this one work successfully. "Daddy's Home" is hardly a surprise and Ferrell's fans may be pleased, even if they've seen it all before.

Concussion - C

Rated PG-13, 123 minutes

Will Smith

Many football games, especially NFL pro football games, are often won in the 4th quarter. The well-acted but bland new sports drama "Concussion," directed and directed by "Parkland's" Peter Landesman and based on a GQ magazine article "Game Brain" by Jeanne Marie Laskas, is a little disappointing: it starts out well as a compelling investigation but falters in its last act, its relevancy feeling a little muted by taking too many safe routes that go nowhere instead of the "Hail Mary" that could make it a true winner. While conducting an autopsy on former Pittsburgh Steelers legend Mike Webster (David Morse), forensic pathologist Dr. Bennet Omalu (Will Smith) discovers neurological deterioration that is similar to Alzheimer's disease. Omalu names the disorder chronic traumatic encephalopathy (CTE) and publishes his findings in a medical journal. As he becomes crusader for football injuries, he becomes an enemy of the NFL, who attempts to disparage him. Dr. Omalu's underdog story of going up against a behemoth like the NFL is a worthy one to be told, but "Concussion" skims too many details and looks like it ran right past the end zone, no doubt due to an inexperienced director and writer such as Landesman, in only his second feature film as director. Smith's earnest portrayal and solid (but not perfect) handling of Dr. Omalu's African accent highlight the film that starts out a fascinating portrait of football injuries gone way wrong with Webster's death then peters out by the end, instead focusing on his personal life and his friendships with former Steelers team doctor Julian Bailes (Alec Baldwin) or Cyril Wecht (Albert Brooks, charming but miscast) that have little bearing on the story at hand. Once Dr. Omalu's CTE findings are published, the narrative is hampered by these unnecessary breaks that are mostly just filler, making the film feel longer than a football field. A little bored, I found my mind wandering of such things as seeing if Smith's accent breaks - it does slightly on a couple of occasions - to staring at the horribly fake bald cap that Brooks wears (it's so unsightly you can't help but stare at it) and to wandering how Luke Wilson is so miscast and wasted as red-haired Goodell in a surprisingly tiny role. I could forgive for these flaws if "Concussion" actually took a real stand on the issue and force the NFL's hand for full disclosure, responsibility and more money devoted to it, instead it peters out by focusing on something far less controversial, Dr. Omalu's career, family and citizenship. Instead of going for the win, "Concussion" settles for a tie.

Star Wars: The Force Awakens - B

Rated PG-13, 132 minutes

Kylo Ren (Adam Driver)

I will admit upfront, though I have seen all the "Star Wars" films and a fan, I'm not a fanboy style geek either. Still, I get chills when John Williams' iconic music grabs you at the beginning and those familiar yellow words scroll across the screen, because not only is it one of the greatest film series of all time, it's like a reunion with a long lost, beloved old friend. With the latest entry, the thrilling "Star Wars: The Force Awakens," director J.J. Abrams of "Star Trek" and "Lost" fame rolls out a new trilogy of films based on the George Lucas characters, and if they're all as solid as this one, they'll remind you of the gravitas of that first film series. "The Force Awakens" with a sense of lean fun and efficiency and energy the second series seemed to miss, and while it's not perfect (but who is?), it's a big enough thrill ride to please both the huge "Star Wars" fan base and those outside the galaxy. Thirty years after defeating the Galactic Empire, Han Solo (Harrison Ford) and his allies face a new threat from the evil Kylo Ren (Adam Driver) and his army of Stormtroopers. He has the help of two young resistance fighters, Rey (Daisy Ridley) and Finn (John Boyega) along with a tiny droid named BB-8 (with voice help from comedians Ben Schwartz and Bill Hader) as they all search for a vanished Luke Skywalker (Mark Walker) before Kylo Ren can find and destroy him. With Abrams at the helm and co-written by Abrams, Lawrence Kasdan, who helped write two in the first series, and Oscar-winner Michael Arndt ("Little Miss Sunshine"), "The Force Awakens" continues the series with energy and aplomb, making for terrific entertainment that brings the Galaxy Far Far Away to a whole new generation. Most of it works well, with solid visuals that clearly channel the original series, nice action set pieces and a talented cast with special nods to Ford and Carrie Fisher, along with a script that includes some witty one-liners (most courtesy of Ford's Solo). Of the new additions to the cast, Ridley and Boyega are good though it seems they will grow along with the material and future outings. Overly earnest in the some of the opening scenes, both young actors seem a little overwhelmed at first but relax more in later scenes as they become more comfortable with their surroundings; the lithe and gifted Driver, best known for the TV show "Girls" and a few movies as of late, is a good actor but seemingly not a great fit as the chief villain Kylo Ren, lacking the overpowering menace needed for the role, and some of it wasn't as convincing as I'd like, maybe because his helmet and mouthpiece came across as a little awkward. Watch for "Star Wars" stalwarts C-3PO, R2-D2, Chewbacca as well as the Millennium Falcon, most of which are integrated well with memorable new characters, the distinctively sinister Snoke (Andy Serkis) and diminutive pirate Max Kanata (Oscar-winner Lupita Nyong'o, stealing scenes). I won't give any plot spoilers here, particularly a mildly shocking one late in the film, but with the entertaining and generally satisfying "The Force Awakens," Abrams manages to mix solid visuals and story, even if it's not terribly original or revelatory. If you're a "Star Wars" fan and haven't bought your ticket yet, don't waste any time. Get in line now, and may the force be with you as you navigate the crowds packing theaters to see it.

Sisters - B-

Tina Fey and Amy Poehler

Rated R, 118 minutes

After their successful run together on "Saturday Night Live" and then the Golden Globes, it's hard not to like Tina Fey and Amy Poehler. Their loose charm and chemistry is on full display and is the highlight of their modestly enjoyable new comedy "Sisters" an uneven tale that alternates between sweet and vulgar. Two sisters, the very loose and childish Katie (Fey), and the uptight and divorced Maura (Poehler), throw one last party at their childhood home, which their parents (James Brolin and Dianne Weist) are about to sell. Directed by Jason Moore ("Pitch Perfect") and written by Paula Pell, Fey and Poehler's writing cohort at "SNL," the overlong but  bawdy "Sisters" is peppered with enough fast and profane moments to keep it going; some of it works and some of it doesn't, going on much too long for what it's worth, but still mostly a fun ride. What works is the playful chemistry of the leads, who know how to wring a laugh or two, such as Poehler trying to pronounce Korean name Hae Won or an awkward '80s dance, and it's nice to see them switch roles, given that Fey is typically the uptight one and Poehler the wild one. What doesn't work is that Pell's script doesn't know when to end their big party, stretching on endlessly through a parade of hijinks and other bad things that you can see coming from a mile away (lots of drugs, booze and blue water). Outside of many current and former "SNL" veterans who appear - Bobby Moynihan is way overused, Rachel Dratch underused while the brilliantly funny Maya Rudolph is hilarious here too, John Leguizamo, pro wrestler John Cena and "MADtv's" Ike Barinholtz all get in good scenes, particularly Barinholtz, whose love-making scene with Poehler, one of "Sister's" funnier moments, ends very badly. Fey and Poehler are sharp comedic talents even when their material isn't, particularly the messy climax that finally puts the big party to a close. As much as I love Fey and Poehler, "Sisters" is still about 20 minutes too long, kinda like that relative you love but are ready to see go - you'll have fun alright, but you'll be exhausted when it's over.

Alvin and the Chipmunks: The Road Chip - D

The Chipmunks

Rated PG, 86 minutes

Seriously, a fourth film? Given how successful this lazy but crowd-pleasing film series has been, it's no surprise there's a new "Alvin and the Chipmunks" film to squeeze your pocket book, and the stale, unoriginal new entry, "Alvin and the Chipmunks: The Road Chip" is strictly for the younger kiddoes in your household. While certainly energetic, it's a thin attempt for the furry creatures (and their female counterparts) to hop around and sing some current pop tunes. The Chipmunks (voiced by Justin Long, Matthew Gray Gubler and Jesse McCartney) come to believe that Dave (Jason Lee) is planning to propose to his new girlfriend (Kimberly Williams-Paisley) in Miami and get rid of them afterwards. In an attempt to stop him, they go on a road trip, with a time limit of only three days. Directed by Walt Becker ("Wild Hogs") and co-written by Randi Mayem Singer and Adam Sztykiel, the formulaic "The Road Chip" lacks enough creativity and originality that would likely make "Chipmunks" creator Ross Bagdasarian rollover in his grave (his son is a producer on these films), and while certainly charming and crowd pleasing, there's rarely very little provided in terms of characters, acting or a solid story. Williams-Paisley is lovely as the female lead this go-around, "Veep's" Tony Hale is wasted as the main antagonist, while Lee continues to scream "Alvin!" on cue as usual. There's nothing new here at all, making it an excruciating experience for parents, who may want to drop off their kids and leave them for this one. On that note, even at just 86 minutes, "Alvin and the Chipmunks: The Road Chip" feels much, much too long.

Macbeth - B

Michael Fassbender as Macbeth

Rated R, 113 minutes

All hail Macbeth. If you like your Shakespeare down and dirty, then the visceral, well-acted new version of his classic tragedy "Macbeth," boldly directed by Australian Justin Kurzel will be right up your alley. Purists may not like it, and no it's not something Olivier or Orson Welles would've approved of, but it's the most accessible Shakespeare film version seen in years proving to be much less stagey and stodgy than these adaptations can come across as. After murdering King Duncan (David Thewlis) and seizing the throne with the help of his wife (Oscar-winner Marion Cotillard), Macbeth (Michael Fassbender) becomes consumed with guilt and paranoia as the tyrannical ruler of Scotland. Gritty and bloody, the entertaining "Macbeth" is a mesmerizing experience, with terrific performances from the Fassbender and Cotillard as the ambitious but guilt-ridden king and his scheming wife; this version, co-written by Jacob Koskoff,  Michael Lesslie and Todd Louiso, is faithful to Shakespeare's source material ("The Tragedy of Macbeth") and is spoken in modern English rather than the usual King's English, yet it still has a genuine feel to it, given it was filmed on location in Scotland. You can practically feel the cold and blood dripping from the actors faces from the violent, "Braveheart"-style opening to equally bloody, tragic climax, all done with some cinematic flair by director Kurzel, in his first major screen offering. "Macbeth" is a compelling, stylized look at the damage that political ambition and power can give: Macbeth and his Lady were once the power couple, but their machinations finally did them in. As with any stylized, bold offering some of it's uneven and not everything works well (does everything have to be covered in blood and dirt?). It's relevancy is underscored by the upcoming U.S. Presidential election: anyone named Clinton, Bush, Trump should take a look at "Macbeth" on what not to do while in power.

The Danish Girl - B

Rated R, 120 minutes

Eddie Redmayne

The affecting, superbly acted new drama "The Danish Girl" tells the story of Lili Elbe, a pioneer for the transgender movement. Directed by Oscar-winning director Tom Hooper ("The King's Speech") and written by Lucinda Coxon ("The Heart of Me"), based on the best-selling novel by David Ebershoff, it's can a little too restrained, even tactful, but it's also intelligent and moving and understandably has been generating Oscar buzz for some time. In early 1920s Copenhagen, painter Gerda Wegener (Alicia Vikander) asks her husband, Einar Wegener (Eddie Redmayne), also a painter, to stand in for a female model. Einar slowly develops an attraction for the female physical appearance and begins living as a woman named Lili Elbe. Lili becomes the first ever recipient of male to female sex reassignment surgery, and while Gerda is supportive, the transition causes considerable strain to their marriage. "The Danish Girl" is worth seeing for the strong performances from both Oscar-winner Redmayne ("The Theory of Everything") and Viklander ("Ex Machina"), and the slow-moving character study often plays like a delicate flower or antique figurines, you're really afraid they'll break or crack at any moment. Hooper, who's used to period pieces such as "Les Miserables" has a nice, soft touch with the material and evokes the period well, with all the first-rate, lovely sets, costumes and the compelling musical score from Alexander Desplat that give an beautiful antique shop feel. With that in mind, "The Danish Girl" is much more tame than you might expect, though it features two of the year's strongest performances from Redmayne, who'll be in the running again this year, and Viklander, as the conflicted couple going thru some unusual changes; their heightened emotions keep it from more than being just about dress up, but a compelling movie about identity and gender roles.  Based on a fictional book about the couple, it takes many liberties: real life Gerda and Einar/Lili divorced early on, and Lili was less supportive than portrayed here, but it makes for compelling movie-watching. Expect many award and accolades to come to this movie, and while that may be overrating it just a bit, "The Danish Girl" is still a satisfactory look at a pioneer in the transgender movement.

In the Heart of the Sea - C

Rated PG-13, 121 minutes

Chris Hemsworth

The new action drama "In the Heart of the Sea" tells the story behind the story, in this case the story behind the classic American novel "Moby-Dick." Directed by Oscar-winning director Ron Howard ("Rush") and written by Charles Leavitt ("The Express") based on Nathaniel Philbrick's nonfiction novel of the same name, it's one of those slick, well-made movies with a few compelling moments that you like but not exactly love, mainly because it lacks genuine epic bravura and depth. As told to author Herman Melville (Ben Whishaw) by an elder, lone surviving crew member: In 1820, crewmen (Chris Hemsworth, Benjamin Walker, Cillian Murphy) aboard the New England vessel Essex face a harrowing battle for survival when a whale of mammoth size and strength attacks with force, crippling their ship and leaving them adrift in the ocean. Pushed to their limits and facing storms, starvation, panic and despair, the survivors must resort to the unthinkable to stay alive. Their incredible tale ultimately inspires Melville to write "Moby-Dick." Part action yarn, part inspiring survival story and part behind-the-scenes portrait, "In the Heart of the Sea" is one of those big films so intent on unleashing the whale that it overlooks many of the ideas that inspired Melville's famous story, such as morality, leadership, God and the many complex dynamics of being on sea for months, even years at a time. The first part of "Sea" is its most compelling, filled with some decent, energetic moments and the big CGI whale with its large white tail splashing in the air, which is impressively handled by Howard and company, with his cinematographer Anthony Dod Mantle, who worked with him on "Rush" providing some colorful photography of the nice visuals and first-rate sets and costumes. Unfortunately, the film peaks about midway through and once the whale largely disappears the movie becomes much less enthralling, with the lackluster survival aspect of the film giving some disconnect to the Melville scenes and "Moby-Dick" in general (and after all the effort to get the story, it seems a waste when Melville says he won't use all of it). Gleeson is by far the most memorable actor in the film, and while Hemsworth grounds the film in eye-candy fashion, even in his frailest moments in the last act, he isn't a strong enough actor to provide a genuine emotional payoff and depth the film needs, and it makes me wonder what a stronger actor like Christian Bale or Michael Fassbender could've done with the role. "In the Heart of the Sea" isn't a terrible film, it just aspires to be a big fish story that's really something much less.

45 Years - B+

Tom Courtenay and Charlotte Rampling

Rated R, 95 minutes

Every marriage or long relationship is filled with highs and lows and inevitable disruptions that must be dealt with. The quietly compelling, superbly acted drama "45 Years" deals with a major marital disruption, one that threatens the unions with its emotional undercurrents. There is just one week until Kate Mercer's (Charlotte Rampling) 45th wedding anniversary and the planning for the party is going well. But then a letter arrives for her husband Geoff (Tom Courtenay). The body of Geoff's first love has been discovered, frozen and preserved in the icy glaciers of the Swiss Alps. By the time the party is upon them, five days later, there may not be a marriage left to celebrate. Directed and written by Andrew Haigh of the TV show "Looking" and based on David Constantine's short story "In Another Country," the low-key but satisfying drama deals with marital complexities, especially when one is unable to deal with what starts as a minor issue. The mesmerizing performances from veterans Courtenay (of "Doctor Zhivago" and "The Dresser") and especially Rampling (many credits, including TV's "Restless" and "Eye of the Storm") whose strong turn as the shattered wife is filled with many memorable scenes, including many unspoken expressions and glances, and it's to her credit her face can speak a volume. It's not a surprise that Rampling's subtle, quietly unnerved performance is garnering rave reviews and Oscar buzz, though she is long overdue for even a nomination. Her final scene, at the couple's anniversary party, will stay with you long after the movie is over. The talky yet emotionally involving "45 Years" is essentially a two-person play, unassuming but remarkable how these two, especially Rampling, is able to hold up. Worthwhile for the exquisite turns from Rampling, who is deserving of an Oscar nomination, and Courtenay.

Youth - B

Rated R, 118 minutes


Michael Caine and Harvey Keitel

"Youth" is about old people. Specifically old people longing for their youth. Handsomely filled, well-acted but uneven and flawed, "Youth" strikes a compelling chord about what it's like to grow older. The movie is about two longtime friends vacationing in the Swiss Alps: Fred (Oscar-winner Michael Caine), an acclaimed composer and conductor, who brings along his daughter and assistant Lena (Oscar-winner Rachel Weisz) and best friend Mick (Harvey Keitel), a renowned filmmaker struggling to make a comeback with his upcoming film. While Mick scrambles to finish the screenplay for what he imagines will be his last important film, Fred has no intention of resuming his musical career. The two men reflect on their past, each finding that some of the most important experiences can come later in life. Directed and written by Paolo Sorrentino of the Oscar-winning foreign language film "The Great Beauty" (2013), "Youth" is an enchanting, sometimes poignant, other times odd portrait of growing older gracefully; when it veers off into some unusual subplots it doesn't work as well, but screen legends Caine and Keitel have a warm chemistry that lights up the film. The movie's reflective moments can be ones of great beauty, then enter some odd, quirky characters, such as Paul Dano's struggling actor, Lena's cheating husband (and Mick's son) (Ed Stoppard) or Mick's chatty screenwriting friends, and it tends to throw the movie off a bit; it also falters when screen veteran Jane Fonda sweeps in near the end in a campy, biting cameo - if she gets an Oscar nomination for Best Supporting Actress, which this is being buzzed for, it will be undeserved. The ending is dark, brave and somewhat beautiful, and Fred's original piece, "Simple Songs," written specifically for the movie by Grammy-winning musician David Lang, is a lovely coda to the story and definitely worth an Oscar nomination. "Youth" is worth seeing, mainly for the chemistry from Caine and Keitel.

James White - B

Cynthia Nixon and Christopher Abbott

Rated R, 85 minutes

The powerful new independent, low-budget drama "James White" is a compelling look at maturity, family relationships and struggling to find your way in life. Directed and written by Josh Mond in his directorial debut (he produced "Martha Marcy May Marlene"), it's a semi-autobiographical coming-of-age story that's well-grounded by its superb performances. James White (stage actor Christopher Abbott of TV's "Girls" and Mond's "Martha Marcy May Marlene") is a troubled twenty-something trying to stay afloat in a frenzied New York City. He retreats further into a self-destructive, hedonistic lifestyle, but as his mother ("Sex and the City's" Cynthia Nixon) battles a serious illness James is forced to take control of his life. As the pressure on him mounts, James must find new reserves of strength or risk imploding completely. The well-acted, dark "James White" has a loose, informal visual style that takes you into the world of a New York City millenial who is forced to stop slacking and make a valuable contribution to society. Newcomer Abbott, who has acted mostly on stage, grounds the film well and captures James' fragility and immaturity perfectly, and Nixon adds some nice shades of instability as his mother who needs his help but is unsure she can completely rely on her son. Shot by acclaimed cinematographer Mátyás Erdély of the upcoming "Son of Saul" (excellent, and expanding in January to wide release), the film's jumpy camera work is sometimes a detraction, but it still helps capture of the film's better, more human elements. Once James transitions to more responsibility and his mother's all-consuming care, the film has some poignant moments. "James White" is a small, little-seen and satisfying film that deserves to be seen.

Chi-Raq - B

Rated R, 118 minutes

The provocative, relevant new Spike Lee dramedy "Chi-Raq" is  a powerful satire on gun violence, though its more uneven moments tend to sway toward the bombastic. The movie, directed and co-written by Lee, is a modern day adaptation of the Classical Greek play "Lysistrata" by Aristophanes in which women withhold physical affection from their husbands as penance for fighting in war. After the murder of a child by a stray bullet, a group of women led by Lysistrata (newcomer Teyonah Parris), whose boyfriend Chi-raq (Nick Cannon) is a gang member and burgeoning rapper, organize against the on-going violence in Chicago's Southside creating a movement that challenges the nature of race, sex and violence. The well-acted, well-cast and wholly original "Chi-Raq" has some good, if not occasionally preachy, statements to make about gun violence, a relevant topic even this week given the tragic San Bernadino, California murders. Lee works best when he lets his story naturally flow instead of interrupting the narrative flow to make a statement about gun control; the story itself is an engaging one (and most of the dialogue is in rhyme), and the talented cast make it work, including Parris and Cannon as the young lovers, Samuel L. Jackson as Dolmedes (cast as a street preacher here), Angela Bassett, Jennifer Hudson, John Cusack and Wesley Snipes, playing against type here comedically as a doofus gang member. The rap/R&B infused soundtrack, including Cannon's opening tune, are also noteworthy and add some nice texture to a flawed film that occasionally stumbles due to Lee's heavy-handedness (and Cusack is miscast as a preacher, even if that really was the point). Even with its flaws, "Chi-Raq" is a compelling satire and Spike Lee's best film in years.