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.