Boy and the World - B

Rated PG, 85 minutes

The unique, inviting new Brazilian animated movie "Boy and the World" from Brazilian filmmaker Ale Abreu is a delightful, different look at boyhood. Nominated for this year's Academy Award for Best Animated Feature Film, "Boy and the World" is about a little boy named Cuca. Cuca is a boy who lives in a distant world, in a small village in the interior of his mythical country. One day, he sees his father leaving in search of work, embarking on a train towards to an unknown capital. The weeks that follow are of anguish and confusing memories. Until then, one night, a breath of wind breaks into the bedroom window and takes the boy to a distant and magical place. "Boy and the World" is a colorful, unconventional and memorable look at how one boy discovers the world on his own, when love has seemingly left him all alone. Strikingly drawn with some unique characters and movements, it's an engaging affair that should please both parents and children, even if it requires you to pay attention closely to everything that is happening onscreen. "Boy and the World" has such a different look to it that it may take a few minutes of adjustment, but once you do, it'll draw you into its story and characters. There are some touching, tender moments to be had, and an energetic score filled with contemporary Brazilian hip-hop that keeps the movie flowing to a sentimental conclusion. "Boy and the World" isn't for everyone and requires a certain patience to stay with it, but those that see it will find it satisfying.

Where to Invade Next - B

Michael Moore

Rated R, 119 minutes

The entertaining, thought-provoking documentary "Where to Invade Next" from controversial filmmaker Michael Moore, of such films as "Bowling for Columbine" and "Fahrenheit 9/11" is not a cure-all for America's many social inequalities, but it's certainly a good start. Moore visits various countries to examine how Europeans view work, education, health care, sex, equality, and other issues. From cafeteria food to sex ed, Moore looks at the benefits of schooling in France, Finland and Slovenia. In Italy, he marvels at how workers enjoy reasonable hours and generous vacation time. In Portugal, Moore notes the effects of the decriminalization of drugs. The enjoyable "Where to Invade Next" is Moore's first film in six years and is shot as a friendly semi-travelogue across Europe and other continents to look at everything from school cafeteria food, education systems, drugs, prisoner care and many other things that may be lacking in the United States. Moore's charming, jokesy (albeit slovenly, he's not exactly the picture of perfect health) persona and narration highlight the film, and much of is a fascinating portrait of how other countries have progressed, while the U.S. is seemingly lacking. If some of it feels a little redundant, it is, given Moore and company have done similar things before - his most recent film - "Sicko" - took off to Cuba and Canada and other places to get free health care, though "Invade" is much more ambitious in scope, taking a look at an array of different social issues. The most telling and memorable of his visits is his examination of the education system in Finland, where students go to school less and have the top education in the world; in Iceland and Tunisia, where there have been progressive movements for women, and in Italy, where workers receive far more employee benefits and are more productive. As fascinating and often entertaining and even fun as "Invade" is at times, there are a couple of central problems, first is that it's one-sided, skimming the issues considerably and overlooking many details (and the fact that some things in America do work OK), and second, which is most important, it lacks in practical application, which is obviously beyond the scope of this film, and most films of this type. Moore is best at his most subversive, and on that note "Where to Invade Next" is simply a template to start the conversation, and he does that job well. Worth a look if you want to learn something, even if you don't agree with it.

How to Be Single - C-

Dakota Johnson and Rebel Wilson

Rated R, 109 minutes

The fun but scattershot new comedy "How to Be Single" explores the realm of the non-married world from the female perspective, but you won't remember much of it except for Rebel Wilson's wild party gal, who gives the bland, uneven film a much-needed energy shot. New York City is full of lonely hearts seeking the right match, and what Alice (Dakota Johnson), Robin (Wilson), Lucy (Alison Brie), Meg (Leslie Mann), Tom (Anders Holm), Ken (Jake Lacy) and David (Damon Wayans Jr.) all have in common is the need to learn how to be single in a world filled with ever-evolving definitions of love. Based on Liz Tuccillo book (who also wrote "He's Just That into You") and directed by Christian Ditter, the likable but very superficial "How to Be Single" is peppered with a few fun moments, but it's shallow tone make it little more than a light version of "Sex and the City." The cardboard characters and situations they're put in seem too obvious here until the tacked-on last act ,which is so unnecessarily sentimental it doesn't fit with the rest of the movie, with some pithy ideas about singleness ("it allows you be better at being alone" - well no duh). The rowdy Wilson, who obviously takes on the "SATC" Samantha version here, steals all the scenes, is full of quips and one-liners seen in the trailers (except for maybe her version of the term quicksand), though in fact she's the most one-note character in the movie, and the surprise reveal her character has at the end might make you feel a little taken. Johnson is pretty but bland, and I had a hard time believing her motivations, while Brie's character, admittedly fun, seems to be in another movie altogether and little interaction with the other three characters. The most memorable here to me isn't necessarily Wilson, but the always marvelous Leslie Mann, who actually takes a stab at creating a character and whose awkward blathering is the most humorous, I just wish her character was written for a braver ending. The handsome guys here, Lacy, Holm and especially Wayans, don't come across much better, and I wish they were more than afterthoughts. The likable yet forgettable "How to Be Single" is good for a forced chuckle or two - it's one of those great one-night stands but nothing memorable for the long-term.

Zoolander No. 2 - C

Ben Stiller

Rated PG-13, 100 minutes

The mildly enjoyable new Ben Stiller comedy sequel "Zoolander No. 2" is much like coffee and can be an acquired taste: it may go down bitter at first, but once it warms you up, it'll satisfy you. The first "Zoolander" way back in 2001 was an equally acquired and divisive taste, either you loved it or hated it (I'm generally in the second camp), though it became modest hit over time. With its absurdist tone, bright visuals and the always energetic Will Ferrell, "Zoolander No. 2" doesn't always hit its mark on the runway, but there are a few chuckles. When the "world's most beautiful people" are systematically assassinated with formerly famous male model Derek Zoolander's trademark "Blue Steel" look on their face, Interpol recruits Derek (Stiller, who also directed and co-wrote) and his friend Hansel (Owen Wilson) to infiltrate a new and different world of high fashion in order to put a stop to it. Derek's rival Jacobim Mugatu (Ferrell) is set free and could be behind the deadly attacks. Comedy sequels rarely work better than the original, and "Zoolander No. 2" is no exception, though if you enjoyed the absurdity of the first film, you'll enjoy this one too, though that silliness is both its strong point and chief flaw: it throws so much at the audience - including a ton of cameos and sight gags - you're bound to like something eventually. The wobbly, unfunny first act makes you wonder how much of it will actually be all that good, though it rebounds with more laughs later in the film, when Ferrell along with a gang of high fashion cameos (the likes of Anna Wintour, Tommy Hilfilger, Vera Wang and Valentino) arrive to steal the show. On that note, it's stuffed with cameos and jokes that work (the "whore pasta" and the funniest cameo, Neil Degrasse Tyson), while others fall woefully flat (Fred Armisen as a creepy little kid and Benedict Cumberbatch as a Marilyn Manson-esque model), while others are unrecognizable (yes, that's Kristen Wiig underneath a ton of makeup). Abundantly silly and mostly dumb, "Zoolander No. 2," is a guilty pleasure and will make you chuckle more than you care to admit, even if the absurdity seems as overdone as an Ed Hardy t shirt and acid washed jeans. Sure, there's a few laughs to be had, but in its quest to be the Hugo Boss of comedy, you're gonna end up with TJ Maxx.

Deadpool - B

Ryan Reynolds

Rated R, 107 minutes

Get ready, 2016 will be a big year for superheroes, and it gets started with a bang with the action-packed, raunchy and often hilarious "Deadpool." Filled with blood, guts and enough profanity to make your Mom blush, it's certainly not for everyone (and most certainly not for anyone under 13), yet far more enjoyable than you want to admit to. Gifted with accelerated healing powers and a twisted sense of humor, mercenary Wade Wilson (Ryan Reynolds) adopts the alter ego Deadpool and hunts down the man (Ed Skrein) who nearly destroyed his life. Directed by Tim Miller in his feature directorial debut and co-written by "Zombieland" scribes Paul Wernick and Rhett Reese, the raunchy and rollicking "Deadpool" is the latest from the "X-Men" universe to be brought to life, though Deadpool the superhero, who was actually seen in "X-Men Origins: The Wolverine" movie (and played by Reynolds there too) is the most antihero of the bunch, with an ability to heal himself. With an immensely clever opening title sequence, it starts with a bang and never lets up with a fast-pace, loads of graphic violence and packed with more clever one-liners than you can remember. It's perfectly cast, with Reynolds' sarcastic wit and charm on full display, who must battle the menacing Ajax (Skrein) to get his life back; Deadpool gets help from two junior league X-Men mutants, Colossus (Stefan Kapicic) and Negasonic Teenage Warhead (newcomer Brianna Hildebrand). TJ Miller, Leslie Uggams, Morena Baccarin and Gina Carano round out the main cast, all of whom figure prominently in Deadpool's circle of friends and enemies. Storywise, it's threadbare and slightly muddled, and is "Deadpool's" biggest flaw, yet comes with an immense amount of action and a slew of profane one-liners that is highlight of the movie and of which I could do not do justice here by mentioning all of (one of which, in which he calls his blind roommate - Uggams - Ronnie Milsap - still makes me chuckle). If "Deadpool" is a big hit, and I'm sure it will be, expect to be more "Deadpool" movies, which would make many, especially the fan boys who have been clamoring for this for years, very happy. Whether you like this sort of thing or not, you'll have a fun time with the funniest superhero in ages, the guy in the red tights (and it's definitely not Spider-Man) known as Deadpool.

Early Deadpool review - B

Rated R, 106 minutes

**Full review coming February 11th**

The latest superhero film, "Deadpool," arrives in theaters next weekend, and I'll say, it's not your typical superhero film. A spinoff in the "X-Men" universe, the dark movie is loaded with blood, guts and a slew of profanity and one-liners from star Ryan Reynolds (who is perfectly cast here), and while some may not care for the graphic violence, it should please those who have been eager to see the movie. 2016 is going to be filled with superhero movies, and "Deadpool" gets it started with a bang. Brimming with a dark intensity and filled with bad language, I wouldn't recommend it for younger kids, but it's sure fun for everyone else.

The Lady in the Van - B

Rated PG-13, 104 minutes

Maggie Smith

The charming, well-acted new British dramedy "The Lady in the Van" is a loosely-based true story of a homeless woman who lived in a van in the driveway of a famous playwright for a number of years. The narrative falters a bit, especially in the later acts, but it's held together by the usually fantastic Smith, in fine, cantankerous form as the homeless woman. In 1974 London, playwright Alan Bennett (Alex Jennings) develops an unlikely friendship with Miss Shepherd (Maggie Smith), a homeless woman who lives in a van in his driveway for the next 15 years. Directed by Nicholas Hytner and written by Bennett ("The History Boys") himself, the enjoyable "The Lady in the Van," based on Bennett's 1999 play of the same name starring Smith and which actually happened, it's unconventional and often very funny, thanks to the superb (albeit hammy) Smith, who rides off with the movie in her freshly painted yellow van. When Smith isn't onscreen, the film is less successful and somewhat confusing, as Bennett (the real Bennett cameos at the end of the movie) has long conversations with himself, or another part of his mind, about what to do with Miss Shepherd, an artsy technique that likely would've worked better on stage than on film. Of course, he ends up taking care of her, something he's hesitant to admit to, in spite of throwing out her trash and stepping in her feces. Smith, in a more unsympathetic, physical role than usual (this isn't "Downtown Abbey"), can do this sort of part in her sleep, and she handles it with her typical charm and grace, and even if you don't like her at first, she'll win you over by the end of the movie. The ending for "Lady in the Van," an uneven one geared more toward fantasy, doesn't really work, and doesn't seem to fit with the rest of the character-driven movie, but overall it's an entertaining, uplifting look at an unusual relationship that blossomed over the years. Definitely worth a look for Smith.

The Choice - D

Rated PG-13, 111 minutes

Teresa Palmer and Benjamin Walker

Nicholas Sparks has made it bad for both couples (at least for guys) and moviegoers, having to suffer through an annual attempt to imitate his greatest hit, "The Notebook," which feels like ages ago now. The latest icky eye-rolling love fest is the by-the-numbers and stale adaptation of his novel, "The Choice," an effort so contrived and calculated it makes previous dreadful attempts "The Last Song" and "Safe Haven" look like masterpieces. Veterinarian Travis Shaw (Benjamin Walker) is a ladies' man who thinks a serious relationship would cramp his easygoing lifestyle. Gabby Holland (Teresa Palmer) is a feisty medical student who's preparing to settle down with her long-term boyfriend. Fate brings the two together as Gabby moves next door to Travis, sparking an irresistible attraction that upends both of their lives through good times and bad. Note to Nicholas Sparks: we don't care about your latest bland couple going through the usual romantic notions just to make a buck or two, you've become the Stephen King of romance films, churning out films annually regardless of quality. The sluggish, silly and badly executed "The Choice" will please only his most die-hard of fans, who'll turn out to shed a tear or two at this dreck about what happens to pretty people. It has all the usual Sparks elements: set in the South, near water, with two people who initially hate each, fall in love, only to have tragedy or some sort of challenge befall our lovely pairing. This time it's the handsome Walker and Palmer, both decent actors who should know better what they're getting into, and I had a hard time believing any part of it: Travis is a tool, while Gabby is a nagger, it's a miracle the two fall in love at all without killing each other (which would've made things far more interesting), though in Sparks' universe, one or both will undergo some sort of difficulty that becomes the arc of the movie. I hated the fact that a great actor like Oscar-nominee Tom Wilkinson is wasted in such lightweight material, and I also didn't understand why he makes no attempt a Southern accent, while Walker's is so distinct. The last act is as dreadful and painful as they come, with a predictably sweet ending that'll make you long for something much better. Everything about it rings false, fake and so dumb I just couldn't buy it, but that's typical Nicholas Sparks. "The Choice" is all about making the right choices, and the best choice you can make is not to see it.

Hail, Caesar! - B-

George Clooney

Rated PG-13, 106 minutes

"This is bad for movie stars everywhere," says one movie star after another is kidnapped in the new Coen Bros' new mystery comedy, "Hail, Caesar!" The opposite may be true for appearing in a Coen Bros' movie, even one that won't rank as their best. Part mystery and part homage to old Hollywood filmmaking, the uneven but fun comedy works far better as the latter, featuring a gallery of contemporary stars, the highlight of which is a homoerotic song-and-dance routine from Channing Tatum. The movie follows a day in the life of Eddie Mannix (Josh Brolin), a Hollywood fixer for Capital Pictures in the 1950s, who cleans up and solves problems for big names and stars in the industry. But when studio star Baird Whitlock (George Clooney) disappears, Mannix has to deal with more than just the fix. Directed, written, produced and edited by Joel and Ethan Coen, the modestly enjoyable "Hail, Caesar!" is best when it pokes fun at Old Hollywood, with great turns by Brolin (whose character is more studio head than low-level "fixer," just saying), a scene-stealing (as always) Tilda Swinton as twin-Hollywood Gossip-columnist sisters and newcomer Alden Ehrenreich ("Beautiful Creatures") as a seemingly dim cowboy star who's thrust into some major drama on and off-screen - and also has one of the film's funniest scenes with Ralph Fiennes as his long-suffering director working on a particular line of dialogue. Some of "Caesar" works better than others, interestingly the kidnapping angle with Clooney is the movie's biggest weakness, a muddled aspect of the movie lacking the same quick flow the studio scenes have, and the ending in particular is disappointing. If it weren't for Ehreneich and Swinton, Tatum, in a small part, would walk - or dance - off with the movie - in one of the movie's memorable and glamorous Old Hollywood movie-in-a-movie sequences. Tatum's scene pays tribute (somewhat) to Gene Kelly, while it also has fun with big-budget 1950s Biblical epics, loopy Westerns and a particularly elaborate Esther Williams-style sequence with Scarlett Johansson. On the downside, the Coen's have packed in too many unnecessary characters to provide small parts to some big-name actors: Johansson and Fiennes have minimal impact, while Jonah Hill and Joel Coen's wife, Oscar-winner Frances McDormand, are seen only very briefly in cameos, in spite of what the posters and trailers might have you believe. "Hail, Caesar!" isn't the Coen's best and the last act in particular is a little off, but there's enough inspiring moments to still check it out, and after maybe re-watch one of their classics like "Fargo" or "Raising Arizona."

Pride and Prejudice and Zombies - C

Bella Heathcote and Lily James

Rated PG-13, 108 minutes

We've seen plenty of version of Jane Austen's "Pride and Prejudice," though never with zombies attached to it. The unevenly slow mashup, "Pride and Prejudice and Zombies" (or "PPZ" as some call it for short), based on Seth Grahame-Smith's 2009 parody novel of the same name, has a handful of fun moments in spite of a painfully talky, lugubrious narrative that's too self-aware and lacking in vigor. A mysterious plague has fallen upon 19th century England, the land is overrun with the undead and feisty heroine Elizabeth Bennet (Lily James) is a master of martial arts and weaponry. Casting aside personal pride and social prejudices, Elizabeth and Mr. Darcy (Sam Riley) must unite on the blood-soaked battlefield to rid the country of the zombie menace and discover their true love for one another. Directed and written by Burr Steers ("Igby Goes Down"), "Pride and Prejudice and Zombies" is a mildly entertaining, handsome production that uses Austen's "Pride and Prejudice" universe to battle the undead. Unsurprisingly, as with many mashups such as this, not everything works well with the draggy "PPZ" in spite of a few energetic fight scenes; the comedic wink-wink moments, especially with the subplot of attempting to marry the sisters off, falls very flat. Grahame-Smith's novel (who also wrote the parody mashup novel "Abraham Lincoln: Vampire Hunter" that was turned into a better handled 2012 film) steered from the Austen narrative considerably, and Steers veers it off even further, and fans of the novel will notice that much has changed in the film version. "PPZ" isn't designed for purists, who should stay away, but for zombie lovers, who'll likely be disappointed there isn't enough of the undead and its associated graphic violence; it's peppered with a few good moments (a few heads roll but that's about it), but an extremely sluggish middle act and a very messy last act and climax don't help things, not to mention James and Riley are the blandest Elizabeth and Darcy in any Austen universe, with a little bit (and just a very small amount) of "Game of Thrones" Lena Headey, as a very odd Lady Catherine de Bourgh. In spite of its kick-butt appeal, "Pride and Prejudice and Zombies" is a mixed bag, and I'll strive not to judge too much - it is what it is - but what is there could've had much more bite.

Kung Fu Panda 3 - B

Po and friends

Rated PG, 95 minutes

Just when you though Inner Peace had been achieved, once more the most improbable Dragon Warrior you can think of, Po, steps up to be Master Teacher. "Kung Fu Panda 3," the latest installment in the animated kung fu comedy franchise, is remarkably nimble as you remembered and still fun for the whole family. Familiar but filled with colorful zest, it's as safe and predictable as your favorite Chinese buffet. Po (Jack Black) realizes that he has a lot to learn if he's going to fulfill the next challenge from his beloved instructor (Dustin Hoffman). After reuniting with his long-lost father (Bryan Cranston), Po must transition from student to teacher to train a group of fun-loving, clumsy pandas to become martial-arts fighters. Together, the kung-fu brethren unite to take on the evil Kai (J.K. Simmons), a supernatural warrior who becomes stronger with each battle. Directed by Jennifer Yuh Nelson ("Kung Fu Panda 2") and Alessandro Carloni and scripted by Jonathan Aibel and Glenn Berger (writers of all the "Kung Fu Panda" films), is still zany fun, especially for the young set, who'll still get a kick out of the huge, high-kicking panda with an even bigger heart, who discovers his real Dad (voiced by "Breaking Bad's" Cranston) as he must master his chi and regain his standing as the Dragon Warrior, fighting against the evil Kai (Oscar-winner Simmons, superbly cast as the heavy here). Po's pals are all back too to help him in his latest "adventure of awesomeness," including Tigress (Angelina Jolie), Mantis (Seth Rogen), Monkey (Jackie Chan), Viper (Lucy Liu) and Crane (David Cross), so expect hijinks, laughs and pratfalls aplenty, some of which fills like filler to get to the final showdown. Except for the colorful portrayal of the battle between the spirit and mortal worlds, not much is new here, but the familiar formula that worked in the first two "Kung Fu Panda's" work in Po's latest adventure to greatness, and for a sequel, it holds up enjoyably well. If the winter blues have you down, then let the predictably entertaining "Kung Fu Panda 3" get your kicks and spirits up.

Jane Got a Gun - C-

Natalie Portman

Rated R, 98 minutes

See Jane get a gun. Set Jane shoot a gun. See Jane kill a bad guy. But first, Jane must stop and ponder all she's been through. The sluggish, slow-as-molasses new Western "Jane Got a Gun" starring and produced by Oscar-winner Natalie Portman has been riddled with more problems than you can shake a stick at, with a bevy of directors and leading actors in and out of the movie since it started production nearly three years ago, then being delayed by the bankruptcy of its studio at the time, Relativity Media. Unfortunately, some of these problems seemed to have spilled onto the screen, as the pseudo pro-feminist, revenge theme (written and rewritten several times during the process) is hampered by clunky and uninvolving plotting that doesn't really pick up some energy until the last act. With help from her ex-fiancé Dan (Joel Edgerton), Jane (Portman) must defend her husband (Noah Emmerich) and family from a vengeful outlaw (Ewan McGregor) and his gang of killers in the Old West. "Jane Got a Gun" ended up with a decent director, Gavin O'Connor ("Warrior") and a talented cast that includes Portman, Emmerich, Edgerton and McGregor, though they're wasted under a ponderous tone never really takes full shape, as much of the backstory is revealed through some confusing flashbacks from each of the main characters. The familiarity of it all, not to mention that much of it's simply not all that interesting, adds up to a big disappointment, though Portman and Edgerton make for a solid pairing, too bad they don't have better material to work with. "Jane Got a Gun" reminds of the far more memorable (and not to be confused with) Aerosmith classic tune "Janie's Got a Gun"; the lyrics to that song include: "Janie got a gun Janie got a gun whole world's come undone..." Too bad the same couldn't be sad for the dull Western "Jane Got A Gun," as it would've been far more entertaining to watch had she, or anything in the movie, come undone.

Fifty Shades of Black - D-

Marlon Wayans

Rated R, 92 minutes

When a good movie is spoofed, it often allows you to see the finer qualities of the movie being spoofed. When a terrible movie is spoofed, it makes everything much worse. Such is the case with the new Marlon Wayans comedy "Fifty Shades of Black," a spoof of the dreadful "Fifty Shades of Grey," which itself (both the book and the movie) were so bad it was unintentionally funny. "Fifty Shades of Black," on the other hand, is an intentional effort at humor, but someone forgot to tell that to Wayans and company, another inexcusable effort that falls terribly flat and unfunny on every level. Hannah ("Black Jesus'" Kali Hawk), an inexperienced college student meets a wealthy businessman named Christian Black (Wayans), whose unusual sexual practices put a strain on their relationship. Admittedly, Wayans has always been a charming act, but with his "Haunted House" director Michael Tiddes, his loose and crude silly string of gags has nary a chuckle or two in it; spray as much as possible at the camera: some cussing, pratfalls, sight gags and mugging, and surely, surely, someone will laugh at some point. Good luck with that. Offensive and racist at every turn, it tries to follow the "Grey" movie almost scene by scene, an admirable effort given how bad that film really was (admirable, in that it must've required repeat viewings of that film, which is up for a load of Razzie Awards honoring the worst in film). I will say, the only good thing about it was the recreation of "the room" itself, which does look identical to the film being spoofed. I like Wayans, he has talent and generally speaking a funny guy, but I simply can't recommend his awful "Fifty Shades of Black," mainly because it's a painfully unfunny movie with such broad humor and such cheap gags that the only thing it might induce is a hearty round of celibacy.

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 turn from Rampling, who is Oscar nominated for her role as Best Actress this year, and the equally superb Courtenay.

The Finest Hours - C+

Chris Pine

Rated PG-13, 109 minutes

Disney's bland, earnest new fact-based action drama "The Finest Hours" tells the worthy story of a daring rescue of a sinking tanker by the Coast Guard in New England. The realistic action scenes are well-handled in "Perfect Storm" mode, though a creaky offshore personal story nearly sinks it. In February, 1952 a massive storm in Massachusetts splits the tanker SS Pendleton in two, trapping more than 30 sailors inside the tanker's sinking stern. Pendleton Engineer Ray Sybert (a mumbling Casey Affleck) bravely takes charge to organize a strategy for his fellow survivors. Meanwhile, Coast Guard Officer Bernie Webber (a wide-eyed Chris Pine) takes three men on a lifeboat to try and save the crew against seemingly impossible odds. Based on the non-fiction novel "The Finest Hours: The True Story of the U.S. Coast Guard's Most Daring Sea Rescue," by Casey Sherman and Michael J. Tougias and directed by "Fright Night's" Craig Gillespie, "The Finest Hours" is most memorable for the action-packed visuals, and less so for the middling, weak storyline that seems like filler in between the more exciting moments of the movie. The story is a true one, and the film is remarkably true to many of the details of the actual rescue, and likely less so when dealing with the stale, predictable personal life of Webber and his soon-to-be wife, played with vanilla appeal by "Star Trek's" Pine and "Cinderella's" Grainger; Grainger's role is a non essential, slightly annoying one, given that most will care less when and how the two met or of their impending marriage - let's see some of those waves that Disney has paid so heavily for. "The Finest Hours" also misuses a terrific actor in Eric Bana as the chief Coast Guard Officer in charge of the rescue operation, mainly because it seems to minimize his role to focus on the survival stories of Sybert and Webber. Instead of the dull personal drama, 'Hours" could've also focused on the fact that the Coast Guard actually saved men from two different tankers that split on the same day in the terrible storm, both the Pendleton and the Mercer, and while Mercer is given mention here, the focus is on the larger rescue of the Pendleton, a truly remarkable feat. "The Finest Hours" is a modestly entertaining effort that's best when focused on the rescue, and not on the offshore personal lives of the men.

The Boy - D

Rated PG-13, 97 minutes

Lauren Cohan

The tepid, inane new horror film "The Boy" is about as lifeless as the creepy doll who is the centerpiece of this nonsense that's not as scary as learning how many calories are in that popcorn you're eating as you watch it. A young American named Greta ("The Walking Dead's" Lauren Cohan) takes a job as a nanny for a young boy in a remote English village. To her surprise, Greta learns that the child of the couple (Jim Norton and Diana Hardcastle) is a life-size doll, caring for it as a human helps the couple to cope with the death of their own son 20 years earlier. When Greta violates a list of strict rules, a series of disturbing and inexplicable events bring her worst fears to life, leading her to believe that the doll is alive. "The Boy" is one of the dumbest, least scary horror films to come out of Hollywood in about 2 weeks, after the silly mess that was "The Forest," and worst of all, the doll gives the most believable performance in this terribly slow and just terrible movie. About two-thirds of the film has Cohan, whose character is in England to escape an abusive relationship, wandering around a big, dusty house taking care of that doll who may or may not have magical powers and then somehow becoming enamored with the grocery boy (British stage actor Rupert Evans, who must've really needed the cash). The twist at the end is not really a twist, but a plot point so ridiculous and preposterous that instead of shock it'll elicit a...really, all this just for that? "The Boy" rips off many other better movies and TV shows such as "Twilight Zone," any of which would be far more satisfying than this dreck. In the screening of "The Boy" someone sitting a few rows behind me fell asleep during the first 45 minutes and was breathing so loudly I could hardly hear the screen. That pretty much sums up what a slog and sleep-inducing movie this is. Unless you need a good nap, I'd recommend something else.

The 5th Wave - C-

Chloe Grace Moretz

Rated PG-13, 112 minutes

"The 5th Wave" is the latest best-selling Young Adult dystopian novel with a young, spunky heroine turned into a bland, unoriginal movie. Based on the novel of the same name by Rick Yancey, fans of the sci-fi book may not be pleased the uneven outcome presented here. Four waves of increasingly deadly alien attacks have left most of Earth devastated. Against a backdrop of fear and distrust, Cassie Sullivan (Chloe Grace Moretz) is on the run, desperately trying to save her younger brother Sammy (Zackary Arthur). As she prepares for the fifth wave, Cassie teams up with a young man named Evan (Alex Roe), who may become her final hope – if only she could trust him. Mildly entertaining but disappointing at best, "The 5th Wave," directed by British TV director J Blakeson, is another lackluster, mish-mash attempt to cash in on the trend started by "The Hunger Games," which itself petered out late last year in its final installment. While Moretz, of "Hugo" and "Kick-Ass" fame, is a believable enough fragile ingenue, she is no Jennifer Lawrence, and the dull, uninteresting script lacks a powerful story arc and a gritty, creepy feel given the alient takeover, and interestingly enough, for a movie about saving humanity, it sure lacks it. It starts off well as the 4 waves unfold, then somewhere in the second act, as Cassie wanders around looking for her brother and trying to save planet Earth, it drifts off into a stale romance mixed with some uneasy political and military-style themes, losing considerable focus near the end. "The 5th Wave" also looks cheap, with some fake, CG visuals, not to mention it wastes some fine actors, such as Ron Livingston and Liev Schreiber, both of whom are given little to do here, as well as a miscast Maria Bello, who at least tries to have a little fun and a gung-ho military leader.  "The 5th Wave" had an intriguing premise but it does little with it, and the dystopian-sci-fi mixture isn't an effective one, particularly in the dull final act, which fans of the book will notice is noticeably different here. This genre is starting to wear out its welcome, with more misses than hits that shows the odds are definitely not in favor of "The 5th Wave" being a success.

Son of Saul - A

Geza Rohrig

Rated R, 107 minutes
In Hungarian and German with English subtitles

The Hungarian film "Son of Saul" is a remarkable film. Powerful, dark and expertly acted, it's a mesmerizing, heartbreaking tale of love, family and honor under the worst of circumstances that won a major prize (the Grand Prix) at the 2015 Cannes Film Festival. It is early October, 1944. Saul Ausländer (Géza Röhrig), a Hungarian-Jewish prisoner in Auschwitz works as a Sonderkommando member, burning the dead. One day he finds the body of a boy he takes for his son. He tries to salvage the body from the flames, and find a rabbi to arrange a clandestine burial. Meanwhile other members of the Sonderkommando learn about their impending extermination, rise up and destroy the crematorium. Saul keeps focused on his own plan to pay the last honors to a son he never could take care of before. Directed and written by Lazlo Nemes in his feature directorial debut, the poignant but gritty "Son of Saul" takes you down a dark road few have travailed. It's an auspicious debut from Nemes, who wouldn't surprise me if he garnered a Best Director Oscar nomination for this, as well as from Hungarian poet Rohrig, so memorable here (his eyes speak volumes) as the titular character in his debut as actor. Shot by Mátyás Erdély ("James White"), the film's striking opening shot, a long tracking shot that follows Saul's winding path deep into the concentration camp, is an unforgettable one and one you won't soon forget, especially when you realize what is about to happen. It's also a stark, sad reminder of the many lives lost in an all-too recent genocide; on that note "Son of Saul" isn't the most uplifting of films, particularly its tragic ending, but it's a movie that will stay with you and even haunt you long after you leave the theater.

Dirty Grandpa - D

Zac Efron and Robert De Niro

Rated R, 102 minutes

The needlessly raunchy and uncomfortable new comedy "Dirty Grandpa" is brazenly inappropriate and deserves a sentence cleaning bedpans at the local nursing home, which would be far better than this dreck posing as comedy. Wildly uneven and just plain stupid, it serves little purpose except for the unlikely pairing of its two leads, who are drowned in all the low-brow antics and profane language. Uptight lawyer Jason Kelly (Zac Efron) is one week away from marrying his boss's controlling daughter, putting him on the fast track for a partnership at his firm. Tricked by his grandfather Dick (Robert De Niro), Jason finds himself driving the foulmouthed old man to Daytona Beach, Fla., for a wild spring break that includes frat parties, bar fights and an epic night of karaoke. While Jason worries about the upcoming wedding, Dick tries to show his grandson how to live life to the fullest. Directed by Dan Mazer, who produced "Ali G" and "Borat," the raunchfest "Dirty Grandpa" is one of the worst films of recent memory, and completely wastes Oscar-winner De Niro, whose mugging, showing off and filthy language makes you wonder why such an esteemed actor would take such a part, surely he read the script beforehand (and I have a hard time it was to work with Efron, who, unsurprisingly, is little more than eye candy here). Raunch seems to be the order of the day, and "Dirty Grandpa" is filled with some awful moments that just aren't all that funny including De Niro hitting on a much-younger Aubrey Plaza (also wasted here), and when their dirty deed finally occurs late in the film, it's simply just gross instead of hilarious. I'm also unsure of any real "life moments" that are to be learned here, except don't let people draw swastika's in the form of male genitalia across your head, in one of the film's most offensive moments, or not to walk in on your grandpa masturbating to porn (another yuk moment that you can't get out of your head the rest of the movie). Efron and De Niro could've been paired with an actual effort at any sort of script, characters or story, because this fails on every level, particularly the climax, which veers off in a completely different direction. Appealing to the lowest common denominator possible, if your idea of fun is watching your grandpa masturbate or pinch his grandson's rear end, then go for it, but "Dirty Grandpa" is an otherwise miserable experience.

13 Hours: The Secret Soldiers of Benghazi - C

John Krasinski

Rated R, 147 minutes

One thing that Michael Bay's fact-based new military drama "13 Hours: The Secret Soldiers of Benghazi" has going for it: it isn't "Transformers." Based on Mitchell Zuckoff's military book "13 Hours," it certainly brims with explosive intensity, and while it's certainly more mature work than Bay's usual stuff, it fails to capture the full complexity of the event of itself, essentially telling one angle of the story. On the evening of the eleventh anniversary of the September 11 attacks, a group of Islamic militants attacked the American diplomatic compound and a nearby CIA Annex in Benghazi, Libya. CIA security contractors with considerable military experience (including James Badge Dale, Toby Stephens, Pablo Schreiber and John Krasinski) undertake a desperate defense of the American Ambassador and his staff within the diplomatic compound. Peppered with some entertaining, gripping moments that go on too long, "13 Hours" is better than Bay's "Transformers," though the story is painted in such broad strokes and shows Bay's penchant for filling the screen with a load of explosions for about 30 minutes too long. The difference with this from "Transformers" is this is a true story, not to mention Bay's intent to honor the operatives, many who were contract workers for the CIA, who put their lives at risk to defend the American Embassy, and while that's an honorable (and very ambitious) task, they deserve a better treatment than Chuck Hogan's (writer for the TV show "The Strain") simplistic script or Bay's lackluster direction give it. Like the novel it's based on, it's primarily told from the military standpoint and overlooks many of the political themes, and while that certainly adds some exciting action, there's much more to the big picture than the even-handed "13 Hours" gives it, making it feel like Bay, whose expertise is big blockbuster action films, is in over his head. He has the action scenes and the many explosions down pat, with the rest of it as creaky and awkward as an old military jeep, with the handsome, muscular cast, including a buffed-up Krasinski, who's forte is usually comedies, going through the motions, with Badge Dale and Toby Stephens, among others, adding support as key players, some of whom don't survive. "13 Hours: The Secret Soldiers of Benghazi" isn't dull and certainly not "Transformers 4" terrible, but Bay has essentially taken a complex subject and dumbed it down, leaving too much to be explored.

Ride Along 2 - D

Rated PG-13, 101 minutes

Kevin Hart and Ice Cube

The generic, by-the-numbers buddy cop comedy "Ride Along 2" is so recycled, it makes you wonder what decade its in. It doesn't help that the Kevin Hart-Ice Cube movie, a Tim Story-directed sequel to the inexplicably 2014 big hit "Ride Along," is about 95% unfunny, and the Hart-Cube charms wear thin after a few minutes. Ben Barber (Hart) graduates from the police academy and is now a full fledged Atlanta P.D. cop, and wants to make it as a detective. James (Cube), Ben's soon to be brother-in-law, is still annoyed by his tactics. Before Ben is able to marry James's sister, Angela (Tika Sumpter), they're assigned a case in Miami, where they will be working with the Miami Police Department in order to bring down a powerful drug lord named Antonio Pope (Benjamin Bratt). Much like the first film, "Ride Along 2" is filled with loads of energy, bullets, and Kevin Hart screaming his lines to somehow make it funnier, yet little of the predictable, cut-and-paste script makes sense, though admittedly simple to write. Cube gets mad. Hart screams and runs. Cube shoots some bullets. Hart screams and runs more, Cube gets mad again and shoots more bullets. This formula somehow worked enough to make films like "Lethal Weapon" very popular in the '80s and '90s, not to mention making the first "Ride Along" film a huge hit, and "Ride Along 2" wears and tears through the formula more, adding the mildly funny yet ubiquitous Ken Jeong and the lovely Olivia Munn to round out the cast, though they're not strong enough to make the material better. Here's Hart screaming on skis. Here he is screaming and running from an alligator, and here he is screaming and driving a forklift and a Jaguar, and what exactly does all this have to do with an evil drug lord? If you like standard issue, tiresome buddy cop movies and want to kill some time, then feel free to waste it on "Ride Along 2," a ride that is anything but satisfactory.

This Year's Oscar Nominees - #OscarsSoWhite once again

The 2015 Academy Award nominations were released on Thursday, January 14th.

Here is the full list of nominees: http://oscar.go.com/nominees.

As usual, the list provides some surprises, some pleasant and others not as much, along with some egregious snubs. For the second year in a row, all of the acting nominations are held by caucasian actors, one which sparked a controversy through social media called #OscarsSoWhite, one that could gain more footing this year. It's unusual and shameful that an industry that prides itself in diversity and inclusion has so few nominations for minorities and women in major categories, proving that this industry hasn't changed much from yesteryear. The President of the Academy is an African-American female, the host, Chris Rock (who'll no doubt will have plenty to say about it) is also African-American, note to Hollywood: there are plenty of gifted minorities and women deserving of nominations.

As for the nominations, aside from a handful of major snubs, including Ridley Scott for "The Martian," Idris Elba for "Beasts of No Nation" and for the groundbreaking film "Carol," it looks to be stale and predictable, filled with many past winners and nominees (Eddie Redmayne, Cate Blanchett, Leonardo DiCaprio and Kate Winslet, still all deserving) or little-seen films such as the stellar "Spotlight."

It's nice to see a nomination for underdog Sylvester Stallone for "Creed," and he easily becomes a sentimental favorite; DiCaprio is all but a shoo-in, and while he's deserving, I hope he takes time to do a light rom com or something far less intense. It's also nice that there isn't a clear film favorite, though with 12 nominations, "The Revenant" is the current front runner, with it shaping up to be a race between "Revenant," "Spotlight" and "The Martian." I'm also glad to see actors such as Alicia Vikander, Tom Hardy, Brie Larson, Sairose Ronan and Charlotte Rampling all gain recognition, even if overall the main acting nominees lack diversity.

The Academy can help itself in the future by honoring groundbreaking films and talent that could be a draw to the awards, and take more risks that reflect society. For now, though, it doesn't seem that way.

Anomalisa - B

Michael and Lisa in "Anomalisa"

Rated R, 90 minutes

The animated stop motion film "Anomalisa," directed, written and co-produced by Oscar-winner Charlie Kaufman of "Eternal Sunshine of the Spotless Mind" fame and currently nominated for this year's Animated Feature Oscar, is a rarity: an affecting, unusual tribute to a different type of human awakening. Michael Stone (David Thewlis), husband, father and respected inspirational self-help author is a man crippled by the mundanity of his life. On a business trip to Cincinnati to speak at a convention of customer service professionals, he checks into the Fregoli Hotel. There, he is amazed to discover a possible escape from his desperation in the form of an unassuming sales rep, Lisa (Jennifer Jason Leigh), who could be the love of his life. The unconventional, character-driven "adult cartoon" that is "Anomalisa" is filled with some touching, human moments of depth, a remarkable feat for a production that seems an unlikely fit until you discover what the story is really about, and then you can't see it any other way. The themes of romantic love and escape from humdrum reality mixed with fantasy is hardly anything new for Kaufman, he's been exploring these on different levels in "Being John Malkovich," "Spotless Mind" and "Adaptation," but never before in stop motion form, but it's perfect venue for his story that's based on his 2005 play. If the similarity of all the voices outside of Michael and Lisa seem disconcerting, it's entirely on purpose, and you'll see how well (all those voices are done by character actor Tom Noonan) of it fits together as the story progresses. As with much of Kaufman's work (I admire, but not always love, his movies), the abnormality and oddness is divisive, and if you're not used to realistic, full frontal puppet nudity and sex not to mention adult language in an animated movie, then this isn't for you, and also know this isn't a cute and cuddly cartoon for the kiddoes. Thewlis and current Oscar-nominee Leigh add energy and appeal to their characters, with one of the movie's most poignant scenes has Leigh singing a beautiful, wistful a cappella version of Cyndi Lauper's "Girls Just Want to Have Fun" (then again in Italian), one may leave tears in your eyes. "Anomalisa" is truly an anomaly, a stirring, thought-provoking stop-motion animated film for adults, just keep an open mind when you see it.

Norm of the North - D

Norm the polar bear and his lemming pals

Rated PG, 86 minutes

When some arctic rodents walk off with your movie, it's probably not a good sign. That's what happens in the bland and predictable new CG animated effort "Norm of the North," which has been unfortunately assigned to a frigid January release, never a good sign for a new film. With help from his furry lemming sidekicks, a polar bear (Rob Schneider) travels to New York to stop a maniacal developer (Ken Jeong) from building luxury condominiums in the Arctic. Directed by Trevor Wall in his directorial feature film debut, "Norm of the North" is peppered with some cute moments, but is hampered by its one-dimensional characters and a thin, tree-hugging premise that goes nowhere quickly, making it feel much, much longer than it really is. Voiced with energy by "Saturday Night Live" comedian Schneider and "The Hangover's" Jeong, it's cute, colorful and mostly forgettable, and stolen by those colorful but indestructible lemmings, who seem to have the most fun in the same, crafty vein as those "Madagascar" penguins. Bill Nighy, Heather Graham, Colm Meaney and comedian Gabriel Iglesias add additional voices to this vapid animated effort, which is devoid of any genuine, laugh-out loud chuckles and any sense of purpose. The younger set may get much more out of "Norm of the North" than their parents, but even they may grow tired of it after awhile. A more appropriate release would've been straight-to-video, and interestingly that's where two planned sequels are going. Skip "Norm of the North" for something heartier, like a bowl of soup or chili that will give you much more flavor this winter than this tiresome effort.

Final Oscar Nomination Predictions - Top Categories

The official Oscar nominations will be released on Thursday morning, January 14th. Here are my latest predictions in the top categories. Based on some major awards winners and nominations, these could go a number of different ways, but this is what I'm going with for now.

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

Don't rule out:
"Room"
"Star Wars: The Force Awakens"
"Ex Machina"
"Inside Out"
"Steve Jobs"
"The Danish Girl"
"Sicario"

I'm going with 9 films at the moment, with both "The Big Short" and "Straight Outta Compton" picking up steam lately. "Room," a superb, affecting film, is worthy of the last slot, though it has lost considerable momentum in recent weeks, with its best chances at earning Best Actress and Best Screenplay noms. Either "Sicario" or "Ex Machina," both of which earned Producers Guild noms recently, could also sneak in with a 10th slot, but it'd be a surprise if they did.

Best Director:
Alejandro Gonzalez Innaritu, "The Revenant"
Tom McCarthy, "Spotlight"
Ridley Scott, "The Martian"
George Miller, "Mad Max: Fury Road"
Adam McKay, "The Big Short"

Don't rule out:
Todd Haynes, "Carol"
Danny Boyle, "Steve Jobs"
Lenny Abrahamson, "Room"
Steven Spielberg, "Bridge of Spies"

Haynes, whose "Carol" is expected to get a lot of noms, could very well be the final slot, but I'm going with McKay, who has gained momentum with a Director's Guild nomination just this week.

Best Actress:
Brie Larson, "Room"
Cate Blanchett, "Carol"
Jennifer Lawrence, "Joy"
Saiorse Ronan, "Brooklyn"
Charlotte Rampling, "45 Years"

Don't rule out:
Helen Mirren, "The Woman in Gold"
Carey Mulligan, "Suffragette"
Lily Tomlin, "Grandma"
Charlize Theron, "Mad Max: Fury Road"

At least 4 of the actresses above: Larson, Blanchett, Ronan and Lawrence, all seem to be easily in, with the final slot most likely going to Rampling for the acclaimed but little-seen, superbly acted indie drama "45 Years." Tomlin or Theron could also make the cut and I certainly wouldn't mind either of them, but they're both dark horses at this point.

Best Actor:
Leonardo DiCaprio, "The Revenant"
Matt Damon, "The Martian"
Eddie Redmayne, "The Danish Girl"
Michael Fassbender, "Steve Jobs"
Bryan Cranston, "Trumbo"

Don't rule out:
Johnny Depp, "Black Mass"
Will Smith, "Concussion"
Michael Caine, "Youth"

In what will be the easiest category of the awards season, it seems to be finding 4 other guys to go along with DiCaprio, who's almost certain to take home the big prize this time. Damon, Redmayne and Fassbender all are easily in as well, with the final slot most likely going to SAG and Globe-nominated Cranston, though SAG-nominated Depp is still a strong possibility.

Best Supporting Actress:
Rooney Mara, "Carol"
Alicia Vikander, "The Danish Girl"
Kate Winslet, "Steve Jobs"
Jennifer Jason Leigh, "The Hateful Eight"
Helen Mirren, "Trumbo"

Don't rule out:
Jane Fonda, "Youth"
Alicia Vikander, "Ex Machina"
Rachel McAdams, "Spotlight"
Joan Allen, "Room"
Elizabeth Banks, "Love & Mercy"

The supporting categories tend to provide the most surprises, though this year that will probably be in the supporting actor category. This category lends itself to category fraud this year given that Mara and Vikander, two shoo-ins for nominations, both really belong in the lead category. Outside of Mara and Vikander, Winslet is also a sure thing, and Jason Leigh has been surging as of late. The final slot will go to a veteran, either Mirren or Fonda, though I wouldn't rule out SAG-nominated McAdams.

Best Supporting Actor:
Sylvester Stallone, "Creed"
Mark Rylance, "The Bridge of Spies"
Christian Bale, "The Big Short"
Idris Elba, "Beasts of No Nation"
Mark Ruffalo, "Spotlight"

Don't rule out:
Michael Keaton, "Spotlight"
Michael Shannon, "99 Homes"
Paul Dano, "Love & Mercy"
Benicio Del Toro, "Sicario"
Tom Hardy, "The Revenant"
Jacob Tremblay, "Room"

The Best Supporting Actor category will probably itself with at least 1 or 2 surprises this year, given the wide array of performances this year. The sure things: Stallone, a sentimental favorite and Globe winner, Rylance, and SAG and Globe-nominated Elba. The final two slots will likely go to Academy favorite Bale for the surging "The Big Short" and for Ruffalo, for "Spotlight." The surprises could be numerous given this category has been a little all over the place this awards season, so it wouldn't surprise me if any of the other listed gentlemen in my "Don't rule out" list above sneak in at the last minute.

Early Oscar Favorites: Best Picture - REVISED

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.

Here are my revised Best Picture predictions. For other categories see my earlier blog posts. I will post my final predictions for this and other categories very soon.

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.

The Forest - D

Natalie Dormer

Rated PG-13, 95 minutes

If you know what's good for you, you'll stay away from the tame, forgettable horror film "The Forest" unless you find traipsing through some trees scary. One of the first major new releases in 2016, you're better off finding a holdover from 2015 to see or see once more ("Star Wars" again anyone?). When her twin sister disappears in Japan, a young American named Sara ("Game of Thrones" Natalie Dormer) becomes determined to find out what happened to her. Sara's investigation leads her to the legendary Aokigahara Forest, located at the base of Mount Fuji. Accompanied by expatriate Aiden ("Chicago Fire's" Taylor Kinney), she enters the mysterious wilderness after being warned to "stay on the path." Her investigation plunges her into a dark world where the angry and tormented souls of the dead prey on those who dare to explore the forest. Directed by video and commercial director Jason Zada in his feature debut, the dull, lifeless "The Forest" is about as lively as that oak tree in your front yard, and probably less entertaining. What could've been an edgy, dark horror movie infused with some Japanese-style chills ends up a muddled, yawn-inducing story about a girl wandering around some trees looking for her lost sister. We never really find out why she disappeared or where exactly she's been, and some confusing backstory involving the girls' parents is never really fully explored. Worse off, "The Forest," loosely based on mythology surrounding an actual, creepy Japanese forest, aside from a couple of the usual jumps, is lacking in anything that's genuinely scary, with minimal, low-grade special effects that add little to the proceedings and a dumb ending certainly will have you leaving the theater more confused than when you entered. I feel sorry for handsome, recognizable TV actors Dormer and Kinney, who are both wasted here by the uneven story telling and the fact that "The Forest" is really just a crashing bore.

The Revenant - A-

Leonardo DiCaprio

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.

North Texas Film Critics Assocation Award Winners - Best of 2015

The North Texas Film Critics Association (NTFCA) is pleased to announce their 2015 film award winners in selected categories.  Listed below are the winners in each of the categories.


BEST PICTURE 
The Martian

DIRECTOR:
Ridley Scott, The Martian

BEST ACTOR: 
Leonardo DiCaprio, The Revenant

BEST ACTRESS: 
Brie Larson, Room

BEST SUPPORTING ACTOR:
Idris Elba, Beasts of No Nation

BEST SUPPORTING ACTRESS: 
Jennifer Jason Leigh, The Hateful Eight

 BEST CINEMATOGRAPHY:
Emmanuel Lubezki, The Revenant

BEST ANIMATED FILM:
Inside Out

BEST DOCUMENTARY FILM:
Amy

BEST FOREIGN LANGUAGE FILM:
Son of Saul

About the NTFCA:

The North Texas Film Critics Association (NTFCA) is an unincorporated, members-only organization of print, broadcast and internet film reviewers serving the North Texas area who meet association standards. Its objectives include:

v    Promote the publishing and broadcast of film reviews and bring together those who participate in said actions

v    Increase the public’s knowledge and enjoyment of films

v    Conduct an annual North Texas Film Critics Association awards ceremony to recognize excellence in film.  Members will be asked to submit their choices for top awards. This event and the results will be publicized.