Welcome to Me - B

Rated R, 87 minutes
Wes's Grade: B

The odd, dark comedy "Welcome to Me" proves people with money can do weird things

People with money can sure strange things. Maybe people with money are just strange. That's premise of the odd and quirky dark comedy "Welcome to Me," which says that maybe some people don't deserve to be famous. A woman named Alice Klieg (Kristen Wiig) with borderline personality disorder wins the lottery and decides to spend the cash on her own cable access talk show, where her larger-than-life personality and obsession with being famous begins to alienate her friends and family. Directed by Shira Piven (Jeremy Piven's sister) and written by Eliot Laurence, "Welcome to Me" is an often dark, strange comedy filled with some fun moments and superbly acted by "Saturday Night Live" vet and "Bridesmaids" star Kristen Wiig, who shines as the unstable Alice, whose obsession to be famous drives those around her crazy. She is supported by a strong cast, including Wes Bentley, Jennifer Jason Leigh, James Marsden, Tim Robbins (whose brother scores the movie),  Linda Cardellini and as her long-suffering producer, Joan Cusack, who must endure all of Alice's shenanigans. Given that Alice's weird, problem-filled life itself is filled with many pensive moments, the movie works better as a straight comedy, and is most memorable for the hilarious different shows Alice puts on that are supposedly based on her life, many of which could've been (and might've been at some point) "SNL" sketches over the years, including "Alice vs. Mom," "Someone Took My Handbag,"  not to mention assorted cooking shows, one interesting show in which she operates on a dog on camera, and her final show, "The Legend of a Swan: The Telethon for Change." Ultimately, there isn't much to the premise (though Wiig is completely naked in one scene) and is really just a weird, rich girl (Lady Gaga anyone?), but Wiig's amusing turn makes "Welcome to Me" worthwhile for some weird and wonderful moments.

5 Flights Up - C

Rated PG-13, 92 minutes
Wes's Grade: C

Thinly amusing dramedy "5 Flights Up" has a great offer but still disappoints

If you've ever had to sell your home and buy a new place, it can be quite an adventure (just getting financed these days can be challenging), and the well-acted but thin, somewhat joyless dramedy "5 Flights Up" explores just that. Forty years ago, artist Alex (Morgan Freeman) bought a run-down apartment in a sketchy part of Brooklyn with his wife, schoolteacher Ruth (Diane Keaton). Today, their neighborhood is now very hip and their apartment worth a small fortune. Well-cast and mildly amusing, "5 Flights Up" makes an initial great offer but has a disappointing follow-through. Directed by Richard Loncraine ("My One and Only") and written by Charlie Peters, based on the novel "Heroic Measures" by Jill Ciment, it certainly has a pedigreed director and two Oscar-winning actors in the lead roles, who do their best with the rambling script that relies heavily on flashbacks in telling the couple's backstory. As good as actors as Freeman and Keaton are, they aren't as believeable or interesting as their younger selves, played by Claire van der Boom and Korey Peters, and the present day is filled with too many minor characters who are distractions, though Cynthia Nixon has some fun as their real-estate agent niece, who'll do almost anything to get their apartment sold at a great price. You can certainly sense her character's frustration with the older pair in the unsatisfying climax, which has them doing very little in terms of making any real changes, which makes you wonder they the film spent so much time with them in the first place. "5 Flights Up" has some great things to offer, a great cast, a lovable pooch who steals scenes from two Oscar-winners (and whose subplot takes up a great deal of this movie), but ultimately the deal falls through. A disappointment considering the cast.

Far From the Madding Crowd - B

Carey Mulligan is "Far from the Madding Crowd"

Rated PG-13, 119 minutes
Wes's Grade: B

"Far from the Madding Crowd" an enriching tale of multiple-choice romance

The well-acted, beguiling new version of the Thomas Hardy classic romance novel "Far from the Madding Crowd" (not maddening as some to interpret it to be) proves that love can be difficult even for strong, intelligent and very capable women; its themes are hardly new, but it's a worthy period piece/costume drama entry that may remind some of a Merchant-Ivory production or Jane Austen. The movie tells the story of independent, beautiful and headstrong Bathsheba Everdene (Carey Mulligan), who attracts three very different suitors: Gabriel Oak (Matthias Schoenaerts), a quiet, hardworking sheep farmer, Frank Troy (Tom Sturridge), a handsome and reckless Sergeant; and William Boldwood (Michael Sheen), a prosperous and mature yet somewhat desperate bachelor, not to mention the hardships caused by having several suitors. Directed by "The Hunt's" Thomas Vinterburg and written by David Nicholls, this handsome and enriching version of Hardy's "Far from the Madding Crowd," while hardly surprising, is more entertaining than you might think, thanks to a superb turn by Oscar-nominee Mulligan treading Keira Knightley's corset territory, and though it's much too early to be saying something like this, I could easily see her garnering some accolades for the role, as she brings strength and humanity to a role also played by Oscar-winner Julie Christie in the 1967 version (and though Christie did a great job in the role, I see the character with dark hair rather than a blonde, making a huge difference). Bathsheba is smart enough run a large farm, but she still falters when it comes love, though that has to do with all the conflicting choices she has to make along the way. All the men do a great job here too, though the most memorable is French actor Schoenarts ("Rust and Bone"), whose understated turn here gives value to the unspoken love between Bathsheba and Gabriel. In addition to "Madding's" moving performances, the movie's sleek production values give it a good feel, including the score from acclaimed composer Craig Armstrong ("Moulin Rouge") and the lovely cinematography from Charlotte Bruus Christensen. The last, soapy act seems much more pensive and rushed than the rest of the movie, and while its ending seems pat, this is in fact faithful to Hardy's novel in that respect. The satisfying, affecting "Far from the Madding Crowd" is a familiar movie with familiar themes of multiple choices, and you're always wise to go with your first choice; had Bathsheba Everdene done that the movie would've been over in about 10 minutes.

Hot Pursuit - C-

Sofia Vergara and Reese Witherspoon

Rated PG-13, 87 minutes
Wes's Grade: C-

Mildly amusing "Hot Pursuit" a tepid, well-worn female buddy comedy

"Hot Pursuit" is a middling, mildly amusing female buddy comedy that barely gets by because of its appealing leads, who seem to be having a good time. An uptight and by-the-book cop (Reese Witherspoon) tries to protect the sexy and outgoing widow (Sofia Vergara) of a drug boss as they race through Texas, pursued by crooked cops and murderous gunmen. Directed by "Step Up's" Anne Fletcher, "Hot Pursuit" is a disposable, well-worn comedy lacking passion last appeared in much better form in the Bullock-McCarthy 2013 comedy "The Heat." Unsurprisingly, it plays to annoying stereotypes (policewomen, drugs and Mexicans all take the hit here) and predictable plot twists, and despite the fact the leads try to make it work, much of it falls flat under a weak script. Both actresses have done much better before, though this TV-esque, odd-couple premise seems more of a fit for the lovely Vergara, who became a big star with her unsubtle Latina sexpot act, which works fine in a supporting part in a hit TV show like "Modern Family" but is stretched to thinly annoying levels in a 90 minute movie (this is another variation of that character, amped up about 20 times) while Witherspoon seems uncomfortable in all-out comedy mode, especially after the heavy drama "Wild" last year, not to mention her character is so gratingly uptight you have little sympathy for her. A misfire for sure, "Hot Pursuit" does have a few genuinely funny more toned-down moments, including one in a deer costume with two immensely charming leads who try to make it work, but it lacks the zany passion to make it truly memorable. Instead, these two annoying characters traipse across Texas in a rather tepid tale, though if you make it until the credits, you'll see the funniest part of the movie: the blooper reel, which feels so "Smokey and the Bandit." Considering the talent involved, who'll likely sell a few tickets its first weekend, "Hot Pursuit" is a lukewarm comedic disappointment.

The D Train - B-

Rated R, 97 minutes
Wes's Grade: B-

"The D Train" a well-acted, compelling dramedy about hanging with the cool kids

High school reunions have never been my thing, and on the surface the well-acted, spry dramedy "The D Train" seems to be all about that, though it also speaks to much more, about growing up, honesty and the complexities of friendships. All his life, Dan Landsman (Jack Black) has never been the cool guy. That's about to change - if he can convince Oliver Lawless (James Marsden), the most popular guy from his high school who's now a modestly successful actor, to show up with him to their class reunion. A man on a mission, Dan travels to LA and spins a web of lies to recruit Lawless but he gets more than he bargains for as the unpredictable Lawless takes over his home, career, and entire life. Directed and written by Jarrad Paul and Andrew Mogel in their feature film debut, "The D Train" is an affecting though flawed dramedy with a few unexpected twists along the way (such as a bisexual subplot), eventually becoming a much different film than you might think, which might be a slightly darker, revisionist version of a John Hughes high school film. "The D Train" is most highlighted by the remarkably warm chemistry from the leads and their strong performances, especially from Marsden, in a subdued role that's different from his usual pretty-boy roles. Paul and Mogel are serviceable directors, though an unfocused, awkward second act does hurt the film somewhat, and works best when it explores our tendency as adults to still want to try to hang with the cool kids (and doing literally anything to be cool), with some amusing individual moments, such as when Marsden's Oliver has the whole sex talk with Dan's awkward teenage son, or they strike a fake business deal with Dan's clueless boss (the always fun Jeffrey Tambor). "The D Train" is satisfying and compelling in its own imperfect way, and isn't as cool as you'd like it to be, but then maybe that is the point. Worth it for the strong performances from Marsden and Black.

Adult Beginners - C+

Nick Kroll

Rated R, 93 minutes
Wes's Grade: C+

If not for the charming Kroll, "Adult Beginners" would have to start over

"Adult Beginners" is a modestly charming but unoriginal new comedy you've seen many times before: one of those predictably fun starting over-coming-of-age-growing-up things made better by its talented lead actor. Young hipster tech entrepreneur Jake ("The Kroll's Show" Nick Kroll) crashes and burns on the eve of his company's big launch. With his entire life in disarray, Jake leaves the city and moves in with his estranged pregnant sister (Rose Byrne), brother-in-law (Emmy-winner Bobby Cannavale) and three year-old nephew in the suburbs - only to become their manny. Faced with real responsibility, he may finally have to grow up - but not without some bad behavior first. Directed by Ross Katz ("Taking Chances" and producer of "Lost in Translation") with a story from the always fun and amusing Kroll, who's been kicking around for years and finally gets his shot at a lead role. Comedian Kroll's sarcastic, deadpan delivery is the film's highlight that lifts the unmemorable, tired plotting that seems so pervasive (there are a few chuckles from the pool scenes), you have a sense of what will happen with Jake before you do. Byrne and Cannavale have a few good moments as Jake's estranged family, who clearly have more issues than he does, while "30 Rock's" Jane Krakowski and "Community's" Joel McHale add some amusement in tiny roles. With all the TV actors hanging around, this minor-league production feels like it should be on the small screen, and could've easily been the pilot for a new Showtime or Netflix series. The serviceable "Adult Beginners," with the engaging Kroll leading the way, is good for a laugh or two, though you won't remember much after its over.

Avengers: Age of Ultron - B

Rated PG-13, 141 minutes

Wes's Grade: B

"Avengers: Age of Ultron": a busy, overlong but entertaining spectacle

Well, it's official. The summer-movie going season is now upon us in rollicking, entertaining fashion with the new Marvel Comics action movie "Avengers: Age of Ultron" and if anything, if gives us indication that it will be a busy one. The oversized bigger-is-better movie has more of everything you want: superheroes, action, bad robots and more action and it's an enjoyable, if not overlong, busy spectacle for sure. When Tony Stark (Robert Downey Jr.) jumpstarts a dormant peacekeeping program, things go awry and Earth's Mightiest Heroes, including Iron Man (Downey), Captain America (Chris Evans), Thor (Chris Hemsworth), The Incredible Hulk (Mark Ruffalo), Black Widow (Scarlett Johansson) and Hawkeye (Jeremy Renner), among some others, are put to the ultimate test as they battle to save the planet from destruction at the hands of the villainous Ultron (slimy and perfectly voiced by "The Blacklist's" James Spader). Directed and written by Joss Whedon, who helped bring the first "Avengers" film to life, "The Age of Ultron" lacks the kick-booty edge and accessibility of the first film, and it gets bogged down by a busy, often muddled storyline with little continuity from the other individual movies that many of these characters have had, but the action sequences along with the terrific casting of the hypnotically-voiced Spader help carry the film along nicely through its slower-paced segments. "Avengers: Age of Ultron" will be remembered as the weaker film in the series, unsurprising given that this has happened with some of the other Marvel films, including "Iron Man" and "Thor," though the second "Captain America" installment last summer was better than the first in that series. It has a penchant of wanting to please everyone, stuffing it with some unnecessary characters, including Quicksilver (Aaron Taylor-Johnson), the Scarlet Witch (Elizabeth Olsen) and JARVIS (Paul Bettany), none of whom really make a huge impact, plus there other unnecessary backstories that seems like padding (sorry, I just don't care about Hawkeye's family, just saying) or aren't that fleshed out. Downey's "Iron Man" is still my favorite and coolest of the Avengers, and his cheeky responses to just about anything still make me chuckle ("have you been juicing, you look puffy," he says to Ultron) and his sequence with the Hulk mid-film was a standout. The premise of "Avengers: Age of Ultron" is about evolving into a new age, which is ironic given that this "Avengers" doesn't evolve much and pulls few surprises; the action sequences and special effects are clearly the most memorable as it moves quickly through its overlong 141-minute running time, but Whedon could learn from this by trimming a few things next go-around. Don't forget the end-credits scene featuring another supervillain that will especially please the fan boy set.