Rated R, 134 minutes
Music the highlight of the charming, flawed "Jersey Boys"
Transforming a Broadway smash musical into a hit movie can be a tricky and unpredictable thing, exhibit A being the disastrous 2011 film version of "Rock of Ages." The good news is the charming new Clint Eastwood-directed film version of the Tony-award winning hit "Jersey Boys," while flawed, fares much better. The overly-familiar narrative, based on the story of the rise of Frankie Valli and the Four Seasons, is uneven and doesn't translate as well from the stage but the highlight is that it's filled with many rousing Four Seasons hits, including "Sherry," "Walk Like a Man" and "December, 1963 (Oh, What a Night)." "Jersey Boys" is the account of how Valli (Tony-award winner John Lloyd Young, from the original U.S. stage version), along with Bob Gaudio (Erich Bergen), Tommy DeVito (Vincent Piazza) and Nick Massi (Michael Lomenda) overcame a rough upbringing and numerous other obstacles to become one of rock and roll's most beloved groups and eventual Hall of Fame inductees. Yes, the Broadway hit is still better, and the rags-to-riches story is so well-worn and so-well known at this point it becomes a bit redundant, but the Eastwood-helmed "Jersey Boys" still has enough energy and fun moments, all coming from the music, that you'll be humming as you exit the theater. Eastwood, known for such heavier, dramatic films such as "Unforgiven" and "Million Dollar Baby," is seemingly an odd choice to direct something like this, though if you really know anything about Eastwood he's an accomplished musician himself, and he actually gives the film some dramatic balance along with the fun musical scenes that people will expect from a musical like this. It also helps having Tony-award winner Young from the original musical, who looks and sounds like Valli and is unsurprisingly the standout here, not to mention the fun addition of Christopher Walken as a mobster friend. The last act is a little too uneven, veers too far away from the music and loses some of the timeline; also, one aspect of the stage version that doesn't translate well from stage to film is the fourth-wall narration from the various characters. It's awkwardly integrated by Eastwood and would've worked much better with voice-overs, not to mention we don't hear from Valli as much given really this is his story. Flaws aside, "Jersey Boys" still works because you get to hear all the fun Four Seasons music that made it (and them) such a big hit in the first place. Worth a look for musical Broadway aficionados (and Baby Boomers, who will certainly get the most out of it) just know you'll appreciate the stage version more.
Wes's Grade: B-
movies
Thursday, June 19, 2014
Obvious Child - B
Rated R, 83 minutes
"Obvious Child" tackles sensitive subject with grace and wit
Up front, the new movie "Obvious Child" is widely known as "the abortion comedy." That misplaced notion should tell you right there it's going to be interesting, to say the least. With sensitive subject in hand, the heartfelt "Obvious Child" is a witty and often touching comedy about navigating life challenges, and regardless of where you might stand on this issue, you'll find it relevant. For aspiring New York City comedian Donna Stern (Jenny Slate), everyday life as a female twenty-something provides ample material for her incredibly relatable brand of humor. Donna is unapologetic in most area of her life, but when she gets dumped, loses her job, and finds herself pregnant just in time for Valentine's Day, she has to navigate the murky waters of independent adulthood for the first time. Directed and written by Gillian Robespierre (in her feature film debut) and based on a short film of the same name by Robespierre, "Obvious Child" is a keen, contemporary and often insightful comedy for these ages in which women must make some crucial choices. The choices espoused in the film are certainly controversial, often hotly debated ones, but "Obvious Child" is less about preaching and politics than about maturity and adulthood, and while this review will not debate the issues, I can say that much of its observations are very sharp. The quick-witted and charming Slate (a familiar face of many TV shows and movies, including "Saturday Night Live") is a genuine talent and she grounds the film well along with Jake Lacy ("The Office") as her clean-cut, opposites-attract Gentile boyfriend who is a little unsure of it all. Director and writer Robespierre is also a solid talent, with her thin storyline pleasantly thoughtful, while occasionally meandering NYC skyline in a Seinfeld or Woody Allen-esque manner. "Obvious Child" is most moving when it focuses on the complexity and pain of our relationships and decisions; if you agree or don't agree with it that's fine, but life is filled with growing pains, and on that level it works far better as a unique coming-of-age comedy than as an "abortion comedy."
Wes's Grade: B
"Obvious Child" tackles sensitive subject with grace and wit
Up front, the new movie "Obvious Child" is widely known as "the abortion comedy." That misplaced notion should tell you right there it's going to be interesting, to say the least. With sensitive subject in hand, the heartfelt "Obvious Child" is a witty and often touching comedy about navigating life challenges, and regardless of where you might stand on this issue, you'll find it relevant. For aspiring New York City comedian Donna Stern (Jenny Slate), everyday life as a female twenty-something provides ample material for her incredibly relatable brand of humor. Donna is unapologetic in most area of her life, but when she gets dumped, loses her job, and finds herself pregnant just in time for Valentine's Day, she has to navigate the murky waters of independent adulthood for the first time. Directed and written by Gillian Robespierre (in her feature film debut) and based on a short film of the same name by Robespierre, "Obvious Child" is a keen, contemporary and often insightful comedy for these ages in which women must make some crucial choices. The choices espoused in the film are certainly controversial, often hotly debated ones, but "Obvious Child" is less about preaching and politics than about maturity and adulthood, and while this review will not debate the issues, I can say that much of its observations are very sharp. The quick-witted and charming Slate (a familiar face of many TV shows and movies, including "Saturday Night Live") is a genuine talent and she grounds the film well along with Jake Lacy ("The Office") as her clean-cut, opposites-attract Gentile boyfriend who is a little unsure of it all. Director and writer Robespierre is also a solid talent, with her thin storyline pleasantly thoughtful, while occasionally meandering NYC skyline in a Seinfeld or Woody Allen-esque manner. "Obvious Child" is most moving when it focuses on the complexity and pain of our relationships and decisions; if you agree or don't agree with it that's fine, but life is filled with growing pains, and on that level it works far better as a unique coming-of-age comedy than as an "abortion comedy."
Wes's Grade: B
Tuesday, June 17, 2014
Words and Pictures - C
Rated PG-13, 111 minutes
Love the leads, but contrived "Words and Pictures" fails to connect
"Words and Pictures" is a glossy, mildly engaging though contrived romantic comedy. With two immensely likable, watchable leads, "Words and Pictures" has a flimsy, silly storyline that somehow wants you to believe these two opposites would actually fall in love. Prep school English teacher Jack Marcus (Clive Owen) laments his students' obsession with social media and good grades rather than engaging with the power of the written word. A one-time literary star, Jack has not published in years filling his spare time with drink versus the art of language. He meets his match in Dina Delsanto (Juliette Binoche) - an abstract painter and new teacher on campus, who was once celebrated for her art. From the start, the two flirt and provoke each other while falling for each other. Directed by Fred Schepisi ("Empire Falls") and written by Gerald DiPego ("Angel Eyes"), the best thing about it are the attractive stars, especially Oscar-winner Binoche, who could bewitch by simply reading the phone book. Owen is also nice, though as written, his character is one of the most annoying of recent memory, with incessant definitions of words and the grating syllable games he plays throughout the film. Both Owen and Binoche give it their all, and while Owen has the most affecting monologue, it's Binoche who easily walks away with the movie, complete with lovely artwork in tow. The glossy "Words and Pictures" wants to be an opposites-attract, tit-for-tat slightly humorous affair, but it ends up a plodding, labored affair that would be much harder to take with less talented actors. It struggles to find a real identity and loses itself behind some unnecessary subplots that add little to the texture of the film, which in fact has little to say (except until the end) or make any real connection to its "Words and Pictures." A disappointment considering everyone involved, though I could watch the radiant Binoche in just about anything (if you blink, you'll miss her in the recent big-budget "Godzilla" remake).
Wes's Grade: C
Love the leads, but contrived "Words and Pictures" fails to connect
"Words and Pictures" is a glossy, mildly engaging though contrived romantic comedy. With two immensely likable, watchable leads, "Words and Pictures" has a flimsy, silly storyline that somehow wants you to believe these two opposites would actually fall in love. Prep school English teacher Jack Marcus (Clive Owen) laments his students' obsession with social media and good grades rather than engaging with the power of the written word. A one-time literary star, Jack has not published in years filling his spare time with drink versus the art of language. He meets his match in Dina Delsanto (Juliette Binoche) - an abstract painter and new teacher on campus, who was once celebrated for her art. From the start, the two flirt and provoke each other while falling for each other. Directed by Fred Schepisi ("Empire Falls") and written by Gerald DiPego ("Angel Eyes"), the best thing about it are the attractive stars, especially Oscar-winner Binoche, who could bewitch by simply reading the phone book. Owen is also nice, though as written, his character is one of the most annoying of recent memory, with incessant definitions of words and the grating syllable games he plays throughout the film. Both Owen and Binoche give it their all, and while Owen has the most affecting monologue, it's Binoche who easily walks away with the movie, complete with lovely artwork in tow. The glossy "Words and Pictures" wants to be an opposites-attract, tit-for-tat slightly humorous affair, but it ends up a plodding, labored affair that would be much harder to take with less talented actors. It struggles to find a real identity and loses itself behind some unnecessary subplots that add little to the texture of the film, which in fact has little to say (except until the end) or make any real connection to its "Words and Pictures." A disappointment considering everyone involved, though I could watch the radiant Binoche in just about anything (if you blink, you'll miss her in the recent big-budget "Godzilla" remake).
Wes's Grade: C
Thursday, June 12, 2014
22 Jump Street - B
Rated R, 109 minutes
Witty "22 Jump Street" is nothing new, but still crackles with fun
I will admit I wasn't a fan of the big-screen comic adaptation of "21 Jump Street," but then I wasn't a fan of the 1980s Fox TV show, either, which provided some fun moments but little else. The witty, charming "22 Jump Street" continues the hijinks on a bigger scale (and budget) with more foul-mouthed hijinks and criminals. It's hardly original yet filled with some pure energy and fun, not to mention the leads' solid chemistry. Think of "22 Jump Street" as this generation's "Lethal Weapon." After making their way through high school (twice), big changes are in store for officers Schmidt (Jonah Hill) and Jenko (Channing Tatum) when they go deep undercover at a local college to solve a murder that revolves around a new high-powered drug. They must work to crack the case before drug use spreads and their professional and personal relationship is put to the test. Directed by the team of Phil Lord and Christopher Miller, who directed the first outing, "22 Jump Street" is a more elaborate, more adult comedic sequel that is hardly anything new and goes on a little too long in the last act, but it's still one of the wittier comedies of late, crackling with some laugh-out moments. Even more so, the inspired chemistry of the leads almost single-handedly carries the film, and without it, it wouldn't be near as good. Tatum and Hill obviously enjoy working together, and Hill in particular is bursting with comic prowess, even if the thin, predictable plotting is pretty standard (drugs - again - ho hum) even by crime comedy standards. If Tatum and Hill are the Gibson and Glover of today, then Ice Cube is their Joe Pesci, their exceedingly (and largely unnecessary) foul-mouthed pain-in-the-rear, though he does provide a couple of the film's better moments, one involving his character's daughter hooking up with Schmidt. "22 Jump Street" (which is definitely not for the kids) still delivers some fine, crowd-pleasing moments that puts it a notch above the rest in this genre, though it could use some more original touches. Speaking of which, stay over for the credits and some hilarious moments as the duo skewer their own sequel and popularity, along with some star cameos. The energetic, entertaining "22 Jump Street" should please fans of the first film and maybe even win over a few new fans along the way.
Wes's Grade: B
Witty "22 Jump Street" is nothing new, but still crackles with fun
 |
| Jonah Hill and Channing Tatum |
I will admit I wasn't a fan of the big-screen comic adaptation of "21 Jump Street," but then I wasn't a fan of the 1980s Fox TV show, either, which provided some fun moments but little else. The witty, charming "22 Jump Street" continues the hijinks on a bigger scale (and budget) with more foul-mouthed hijinks and criminals. It's hardly original yet filled with some pure energy and fun, not to mention the leads' solid chemistry. Think of "22 Jump Street" as this generation's "Lethal Weapon." After making their way through high school (twice), big changes are in store for officers Schmidt (Jonah Hill) and Jenko (Channing Tatum) when they go deep undercover at a local college to solve a murder that revolves around a new high-powered drug. They must work to crack the case before drug use spreads and their professional and personal relationship is put to the test. Directed by the team of Phil Lord and Christopher Miller, who directed the first outing, "22 Jump Street" is a more elaborate, more adult comedic sequel that is hardly anything new and goes on a little too long in the last act, but it's still one of the wittier comedies of late, crackling with some laugh-out moments. Even more so, the inspired chemistry of the leads almost single-handedly carries the film, and without it, it wouldn't be near as good. Tatum and Hill obviously enjoy working together, and Hill in particular is bursting with comic prowess, even if the thin, predictable plotting is pretty standard (drugs - again - ho hum) even by crime comedy standards. If Tatum and Hill are the Gibson and Glover of today, then Ice Cube is their Joe Pesci, their exceedingly (and largely unnecessary) foul-mouthed pain-in-the-rear, though he does provide a couple of the film's better moments, one involving his character's daughter hooking up with Schmidt. "22 Jump Street" (which is definitely not for the kids) still delivers some fine, crowd-pleasing moments that puts it a notch above the rest in this genre, though it could use some more original touches. Speaking of which, stay over for the credits and some hilarious moments as the duo skewer their own sequel and popularity, along with some star cameos. The energetic, entertaining "22 Jump Street" should please fans of the first film and maybe even win over a few new fans along the way.
Wes's Grade: B
How to Train Your Dragon 2 - B+
Rated PG, 105 minutes
Colorful "How to Train Your Dragon 2" has as much heart as the first
Disney look out. The winning new Dreamworks animated "How to Train Your Dragon 2" is as much fun as the original 2009 film with as much sharp, crisp and detailed animation that's clearly on the par with anything that Pixar might turn out and is the animated romp of the summer for sure. This one picks up 5 years after the first film, as Hiccup (Jay Baruchel) and his dragon Toothless must battle an insane conqueror named Drago (Djimon Hounsou) whose goal is to overtake the world through controlling the dragons. Along the way, Hiccup is reunited with his longlost mother (Cate Blanchett) as he must prove his worth to his father Stoick (Gerard Butler) and the rest of the kingdom. Directed by Dean DeBlois, who handled the first "Dragon" film, the touching, fun "How to Train Your Dragon 2" is one of those rare sequels that's as good, and in some ways, surpasses the original, at least in terms of animated and CG quality. Dreamworks clearly spent a lot to money on "Dragon 2," and every penny shows in the richness and color that bursts on screen, with a solid story that expounds on the characters of the original (and never fear, a third film is coming), even if some of it becomes a little predictable by the final act. Comedian Baruchel is an inspired voice talent, and he's well supported by Butler, Hounsou and especially Blanchett, though the movie is nearly stolen by Kristen Wiig with the best lines and scenes in a small part. The dragons are as colorful as the humans, and they upstage the humans frequently; in addition to the handsome visuals, the film is elegantly scored and energetically paced to keep the young set interested. The vastly entertaining, funny "How to Train Your Dragon" is a winner and if you enjoyed the first one, you'll definitely get a kick out of this one too. A must-see for families and kids.
Wes's Grade: B+
Colorful "How to Train Your Dragon 2" has as much heart as the first
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| Hiccup, Toothless and the whole gang are back |
Disney look out. The winning new Dreamworks animated "How to Train Your Dragon 2" is as much fun as the original 2009 film with as much sharp, crisp and detailed animation that's clearly on the par with anything that Pixar might turn out and is the animated romp of the summer for sure. This one picks up 5 years after the first film, as Hiccup (Jay Baruchel) and his dragon Toothless must battle an insane conqueror named Drago (Djimon Hounsou) whose goal is to overtake the world through controlling the dragons. Along the way, Hiccup is reunited with his longlost mother (Cate Blanchett) as he must prove his worth to his father Stoick (Gerard Butler) and the rest of the kingdom. Directed by Dean DeBlois, who handled the first "Dragon" film, the touching, fun "How to Train Your Dragon 2" is one of those rare sequels that's as good, and in some ways, surpasses the original, at least in terms of animated and CG quality. Dreamworks clearly spent a lot to money on "Dragon 2," and every penny shows in the richness and color that bursts on screen, with a solid story that expounds on the characters of the original (and never fear, a third film is coming), even if some of it becomes a little predictable by the final act. Comedian Baruchel is an inspired voice talent, and he's well supported by Butler, Hounsou and especially Blanchett, though the movie is nearly stolen by Kristen Wiig with the best lines and scenes in a small part. The dragons are as colorful as the humans, and they upstage the humans frequently; in addition to the handsome visuals, the film is elegantly scored and energetically paced to keep the young set interested. The vastly entertaining, funny "How to Train Your Dragon" is a winner and if you enjoyed the first one, you'll definitely get a kick out of this one too. A must-see for families and kids.
Wes's Grade: B+
Thursday, June 5, 2014
The Fault in Our Stars - B-
Rated PG-13, 125 minutes
"Fault in Our Stars" a weepy, well-acted romantic tale for the young set
If you like your cry with a little movie, then you'll be glad that the first guaranteed two-hanky movie (i.e. "chick flick") of the summer is here with the moving "The Fault in Our Stars," based on the weepy John Green 2012 young adult bestseller of the same name that becomes a weepy movie for young adults highlighted by the charming leads. Hazel (Shailene Woodley) and Augustus (Ansel Elgort) are two teenagers who meet at a cancer support group. The two forge an unlikely romance and friendship as they hope to grant Hazel's dream of meeting her favorite author in Amsterdam. Low-key and pensive, "The Fault in Our Stars" is most memorable for the strong turns from Elgort and Woodley (who played siblings earlier this year in "Divergent"). Directed by Josh Boone ("Stuck in Love"), it's a largely faithful adaptation of Green's novel though fans of the book will notice some minor changes, especially towards the end, but it retains much of the spirit and themes of the book, which means you better take plenty of tissues. Woodley's star continues to rise, and her touching performance in "Fault" may gain her more notice and fans, though Elgort is just as believable as her slightly goofy, geeky counterpart in Gus, who falls for "Hazel Grace" almost immediately. Woodley and Elgort's warm chemistry brightens the film and keeps it from drowning in its own sorrow not to mention a strong supporting cast; watch for small but memorable turns from the Nat Wolff as their funny, fellow cancer-stricken friend Isaac, Laura Dern as Hazel's sympathetic mom and Willem Dafoe as the drunken author of Hazel's favorite book. "Fault" could've benefited from a stronger director than Boone and the story becomes too soft around the edges near the end once you know the direction the tragic love story takes. But if you're a fan of Green's book, you're bound to be a fan of this too: at a recent screening, I was sitting in the midst of some adolescent girls who were audibly moved, so if you take girls in this target age group to see this film - be forewarned. A tad too long, a little too predictable, yet still, the touching performances of the pensive film is the chief reason to see "The Fault in Our Stars" and enough to advise that you'll be sniffling when it's all over. Recommend, and you'll heart will be tugged.
Wes's Grade: B-
"Fault in Our Stars" a weepy, well-acted romantic tale for the young set
If you like your cry with a little movie, then you'll be glad that the first guaranteed two-hanky movie (i.e. "chick flick") of the summer is here with the moving "The Fault in Our Stars," based on the weepy John Green 2012 young adult bestseller of the same name that becomes a weepy movie for young adults highlighted by the charming leads. Hazel (Shailene Woodley) and Augustus (Ansel Elgort) are two teenagers who meet at a cancer support group. The two forge an unlikely romance and friendship as they hope to grant Hazel's dream of meeting her favorite author in Amsterdam. Low-key and pensive, "The Fault in Our Stars" is most memorable for the strong turns from Elgort and Woodley (who played siblings earlier this year in "Divergent"). Directed by Josh Boone ("Stuck in Love"), it's a largely faithful adaptation of Green's novel though fans of the book will notice some minor changes, especially towards the end, but it retains much of the spirit and themes of the book, which means you better take plenty of tissues. Woodley's star continues to rise, and her touching performance in "Fault" may gain her more notice and fans, though Elgort is just as believable as her slightly goofy, geeky counterpart in Gus, who falls for "Hazel Grace" almost immediately. Woodley and Elgort's warm chemistry brightens the film and keeps it from drowning in its own sorrow not to mention a strong supporting cast; watch for small but memorable turns from the Nat Wolff as their funny, fellow cancer-stricken friend Isaac, Laura Dern as Hazel's sympathetic mom and Willem Dafoe as the drunken author of Hazel's favorite book. "Fault" could've benefited from a stronger director than Boone and the story becomes too soft around the edges near the end once you know the direction the tragic love story takes. But if you're a fan of Green's book, you're bound to be a fan of this too: at a recent screening, I was sitting in the midst of some adolescent girls who were audibly moved, so if you take girls in this target age group to see this film - be forewarned. A tad too long, a little too predictable, yet still, the touching performances of the pensive film is the chief reason to see "The Fault in Our Stars" and enough to advise that you'll be sniffling when it's all over. Recommend, and you'll heart will be tugged.
Wes's Grade: B-
Edge of Tomorrow - B
Rated PG-13, 113 minutes
"Edge of Tomorrow" a dizzying sci-fi thriller with Cruise back in fine form
The new Tom Cruise science-fiction action thriller "Edge of Tomorrow" will have you on the edge of your seat with a dizzying array of special-effects and fast-paced action, though it's essentially a futuristic "Groundhog Day" with a mix of "Aliens" minus Bill Murray. Set in the near future with a massive, worldwide alient assault as the backdrop, Cruise is Major William Cage, who is sent on a suicide mission but ends up in a terrifying time-loop, living and dying each day in the same brutal combat. Cage realizes he can use his special powers working along side Special Forces warrior Rita Vrtraski (Emily Blunt) in the ultimate mission to defeat the enemy. Based on the Japanese light science-fiction novel "All You Need Is Kill" by Hiroshi Sakurazaka (which is a much better title than the vague "Edge of Tomorrow") and directed by Doug Liman ("The Bourne Identity"), the intense, entertaining "Edge of Tomorrow" has Cruise back in better, less-annoying form, which usually means it's spy or sci-fi. Co-written by Oscar-winner Christopher McQuarrie ("The Usual Suspects"), the advantage with "Edge of Tomorrow" is that the story and visuals take center stage and Cruise is less earnest than usual, not to mention he's placed alongside the lovely, always charming Blunt, who usually makes most things better. The busy script, fashioned in a "Groundhog Day"-ish way, particularly in its initial chapters, has some plot inconsistencies as far as the time loop is concerned, but you can overlook those once the movie unfolds and really gets going in the second act, though for a film Rated PG-13, there are some rather intense and violent scenes. In reference to Cameron's aforementioned "Aliens," it's also nice having around Bill Paxton for comic measure in a cheeky, fun supporting part as a Southern-talking commander, though those nasty, nasty aliens, who look like calamari on an acid trip, steal the movie from Cruise and company. Even if you're not a fan of Cruise, "Edge of Tomorrow" is still an enjoyable, sci-fi action flick with some fun visuals and Paxton thrown in for good measure. An intense ride worth a look this weekend.
Wes's Grade: B
"Edge of Tomorrow" a dizzying sci-fi thriller with Cruise back in fine form
The new Tom Cruise science-fiction action thriller "Edge of Tomorrow" will have you on the edge of your seat with a dizzying array of special-effects and fast-paced action, though it's essentially a futuristic "Groundhog Day" with a mix of "Aliens" minus Bill Murray. Set in the near future with a massive, worldwide alient assault as the backdrop, Cruise is Major William Cage, who is sent on a suicide mission but ends up in a terrifying time-loop, living and dying each day in the same brutal combat. Cage realizes he can use his special powers working along side Special Forces warrior Rita Vrtraski (Emily Blunt) in the ultimate mission to defeat the enemy. Based on the Japanese light science-fiction novel "All You Need Is Kill" by Hiroshi Sakurazaka (which is a much better title than the vague "Edge of Tomorrow") and directed by Doug Liman ("The Bourne Identity"), the intense, entertaining "Edge of Tomorrow" has Cruise back in better, less-annoying form, which usually means it's spy or sci-fi. Co-written by Oscar-winner Christopher McQuarrie ("The Usual Suspects"), the advantage with "Edge of Tomorrow" is that the story and visuals take center stage and Cruise is less earnest than usual, not to mention he's placed alongside the lovely, always charming Blunt, who usually makes most things better. The busy script, fashioned in a "Groundhog Day"-ish way, particularly in its initial chapters, has some plot inconsistencies as far as the time loop is concerned, but you can overlook those once the movie unfolds and really gets going in the second act, though for a film Rated PG-13, there are some rather intense and violent scenes. In reference to Cameron's aforementioned "Aliens," it's also nice having around Bill Paxton for comic measure in a cheeky, fun supporting part as a Southern-talking commander, though those nasty, nasty aliens, who look like calamari on an acid trip, steal the movie from Cruise and company. Even if you're not a fan of Cruise, "Edge of Tomorrow" is still an enjoyable, sci-fi action flick with some fun visuals and Paxton thrown in for good measure. An intense ride worth a look this weekend.
Wes's Grade: B
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