Nightcrawler - B+

Rated R, 117 minutes
Wes's Grade: B+

Gyllenhaal's electric, creepy turn grounds the wickedly tense "Nightcrawler"

The dark, well-acted new thriller "Nighcrawler" is a devilishly powerful ride through the underbelly of Los Angeles crime, as told through the local news. It stars Jake Gyllenhaal in an Oscar-worthy turn so wildly creepy and slimy, you may have to wash your hands after seeing the movie.  Lou Bloom (Gyllenhall) is a driven young man desperate for work who discovers the high-speed world of L.A. crime journalism. Finding some freelance camera crews who film crashes, fires, murder and assorted mayhem, Lou muscles into the cut-throat, dangerous realm of nightcrawling -- where each crime could equal a nice paycheck. Aided by Nina (Rene Russo), a veteran of the blood-sport that is local TV news, Lou thrives and in the breakneck, ceaseless search for footage, he becomes the star of his own story. Directed and written by screenwriter Dan Gilroy in his feature film directorial debut (and he's married to Russo in real life), the fascinating "Nightcrawler" is a wildly hypnotic, wildly entertaining tale that will dig deep into your psyche and stay there awhile; instead of tissues have some hand sanitizer because you might feel a little dirty after watching it. Gilroy, whose written such unmemorable movies as "Two For the Money" and "Freejack" over the years, finds some sure footing here, though some of it, particularly the intense climax, is a tad outrageous and over-the-top, but then the dark side of investigative journalism often is. Gyllenhaal's is excellent in what is likely his best and most talked-about role to date, that of the ambitious, smooth-talking psychopath Lou; Gyllenhaal's weight loss for the film enhances his already large eyes, giving off an ultra creepy vibe in a psychotic character who'll do literally nearly anything just for a dollar. Gyllenhaal is one of cinema's smartest actors, and it really pays off in a role he'll likely receive many accolades for. As his partner in crime Rick, Riz Ahmed ("The Reluctant Fundamentalist") provides some humanity (and moments of dark humor) as the voice of reason, while the blowsy Russo, still looking great  at age 60, is his other partner in crime but a clear enabler. Gyllenhaal's Lou, in one terrific scene with Russo, manages to execute both a business deal and a romantic endeavor, and you'll leave both shocked and totally creeped out. "Nightcrawler" doesn't work perfectly all the time (especially with Bill Paxton's character, who seems a minor annoyance here), but it's wickedly intense, bloody entertaining and features one of the year's most hypnotic performances from Gyllenhaal, who continues to grow as an actor. Add this to your growing list of must-see fall films.

Before I Go to Sleep - C

Rated R, 92 minutes
Wes's Grade: C

Well-cast but sluggish "Before I Go to Sleep" slumbers

I hate the feeling of that struggle to stay awake during a movie, but ironically that was the case in the modestly entertaining but stagnant new thriller "Before I Go to Sleep," which seems to have been dumped, I mean released, on Halloween Day in hopes of finding an audience in search of a decent, scary thriller. Too bad they won't find it here. Christine (Nicole Kidman) is an amnesiac who wakes up every day with no memory as the result of a traumatic accident in her past. One day, terrifying new truths begin to emerge that make her question everything she thinks she knows about her life - as well as everyone in it, including her doctor (Mark Strong) and even her husband (Colin Firth). Directed and written by Rowan Joffe ("Brighton Rock") and based on a seemingly far more intriguing, 2011 best-selling novel of the same by S.J. Watson, "Before I Go to Sleep" is sluggishly assembled in spite of a talented cast who performs well and an intriguing plot; it doesn't help that the first couple of acts are as slow as molasses, and you may find yourself drifting off (or perhaps counting sheep) much too early on in the film. By the time it finally picks up some energy late in the last act, you may not care much given the big plot twist is revealed well before the film ends. Kidman is quite believable, though Firth struggles in an underwritten role that lacks a clear sense of any motivation behind his actions. It also wastes two terrific character actors in Strong, as her sympathetic doctor, and the likable Anne-Marie Duff from the TV show "Shameless" as her confused friend. The climax is well-staged but a tad predictable; if you go with your gut feeling, you'll figure it out in the first few frames, otherwise "Before I Go to Sleep" is a bit of a snooze fest.

John Wick - B

Rated R, 96 minutes
Wes's Grade: B

"John Wick" a stylish, violent revenge drama

The entertaining and smart "John Wick" is hardly anything new. The revenge flick has been kicking around since the Charles Bronson days, and while "John Wick" is predictable even from the first frames, you'll still have a good time in a serviceable entry in this genre. An ex-hitman named John Wick (Keanu Reeves) comes out of retirement to track down the gangsters that took everything from him. Directed by Chad Stahelski and written by Derek Kolstad, "John Wick" is not a revelatory film, though it's often fun and enjoyable seeing Reeves handle all those huge weapons he goes after the bad guys with. "Wick" is also terribly violent, though that's why it could become a hit at the box office and help reinvigorate this genre along with Reeves film career, which has stalled lately. Surprisingly, it also features a few talented names popping up in brief roles throughout the film: John Leguizamo, Ian McShane, Willem Dafoe and Bridget Moynihan all appear, though this is really Reeves show, and the role that requires minimal emotion (but some emoting) seems well-suited for the actor, who looks good for his age (50). The film's fight scenes are the highlight, and there's plenty throughout the movie, and you have the sense that the bad guys, no matter how bad they are, don't stand a chance against this guy. Creative, energetic and robust, "John Wick" is a must-see for those who enjoy these violent revenge flicks, but know there's few, if any, surprises, that come from it.

Birdman - A-

Rated R, 119 minutes
Wes's Grade: A-

Inarritu's brilliantly dark comedy "Birdman" soars

Alejandro Gonzalez Inarritu's richly satisfying, compelling new dark comedy "Birdman" is a superbly crafted technical and creative triumph, and one of the best films of the year. Expect to see plenty more of "Birdman" come awards season, including its leading and supporting cast. The movie tells the story of Riggan Thomson (Michael Keaton) an actor famous for portraying an iconic superhero - as he struggles to mount a Broadway play. In the days leading up to opening night, he battles his ego and attempts to recover his family, his career, and himself. "Birdman," written, directed and produced by Inarritu, is a masterful creation on several levels that's brilliantly acted and skillfully, thoughtfully put together. Everything you've heard about Keaton's performance is true - it's believable, affecting and multi-layered (including a memorable stroll through Times Square mid-film in his whitey tighties), and while he's sure to receive many accolades for a perfectly cast role that mirrors his own personal life and career, expect them for several members of the supporting cast too. Edward Norton, as the troubled, unlikable d-bag of an actor, is excellent, as is Emma Stone as his snarky daughter and Amy Ryan as his long-suffering, sympathetic wife, who has some of the film's most touching scenes with Keaton. Zach Galifianakis (in one of his best roles), Naomi Watts and Andrea Riseborough also contribute solid turns as members of Keaton's unpredictable inner circle. The film is also a stunning technical achievement: "Birdman" is told as one seemingly long extended take, showing that the director of such varied films as "21 Grams" and "Babel' isn't afraid to experiment, and here it really pays off. The realistic cinematography from Oscar-winner Emmanuel Lubezki ("Gravity"), the pulsating soundtrack and the seamless editing are all first-rate and help complete the rich, fluid texture of the film. Unconventional and provocative, "Birdman" is dark, somewhat detached and may not be for everyone; much like the main character itself it could often be misunderstood or misinterpreted. It's a poignant story about a man trying to rediscover himself through his past as he learns what works and what doesn't; part character study and part backstage drama, it all works brilliantly, and in the end, soars to new heights. One of the year's must-see films.

The Blue Room - B

Rated R, 76 minutes
In French with English subtitles
Wes's Grade: B

"The Blue Room" a sexy, stylish French thriller

The smart French mystery thriller "The Blue Room" explores what happens when an affair between two consenting adults goes very wrong. Efficient, talky and told largely in flashback, it's a contemporary, darker version "Fatal Attraction" as done by the French. The movie is about two adulterous lovers who go from pillow talk to possible murder. Julien (Mathieu Amalric, who stars, directs and co-writes), a middle-aged salesman embroiled in a steamy love affair with a married woman and old friend (Laurent Poitreneaux) who, after a round of kinky sex, makes a startling suggestion. Suddenly, Julien is caught up in a police investigation that is trying to figure out what all went wrong. Directed by Almaric and based on the novel of the same name by George Simenon, "The Blue Room" is tense, well-acted and unravels slowly, peppered with some sensuously believable sex scenes and a boisterous, piano-heavy score that gives the film some dramatic heft. Some of the themes touched upon here, murder and adulterous love, are hardly surprising, particularly the crime (which is revealed late in the film), but the solid performances and direction keep you engaged: Almaric and Poitreneaux make for a steamy couple, and as the jilted wife, who knows more than she lets on but keeps silent, French actress Lea Drucker is particularly affecting. The weaker last act is mostly an afterthought and the film is perhaps too short for the subject matter (it's only 76 minutes), but the parts that Almaric have assembled in "The Blue Room" keep you involved. "The Blue Room" manages to smolder (some of the sex scenes are graphically European, with full frontal nudity) and while it's not altogether revelatory, it's also dark and entertaining. Worth a look, especially if you like French films.

Whiplash - A-

Miles Teller and J.K. Simmons

Rated R, 106 minutes
Wes's Grade: A-

Ferocious Simmons highlights the riveting “Whiplash”

You know his face, even if you don’t know his name. He’s appeared in numerous films like “Juno” and “Spider-Man” and TV shows like “The Closer,” “Law and Order” and “Oz,” though he’s likely most noticeable from those “We are Farmers” Farmers Insurance commercials. After seeing the vastly compelling and superbly acted new drama “Whiplash,” you’ll know who J.K. Simmons is, who tears into the role of the villainous, sadistic music teacher with such muscularity and ferociousness that you’ll wonder why he doesn’t have more good roles like this (and if you’ve seen him in the aforementioned TV show “Oz” he's just as mean there). Andrew Neyman (Miles Teller) is a promising young drummer who enrolls at a cutthroat music conservatory where his dreams of greatness are mentored by Terence Fletcher (Simmons), a perfectionist music conductor who will stop at nothing to realize a student's potential talent. Directed and written by musician Damien Chazelle and based on a short film of the same name also directed by Chazelle, the hypnotic “Whiplash” unleashes an electric musical energy that pops with force, and it’s certain to be an Oscar contender, with a strong turn not only from Simmons, who's an early shoo-in for Best Supporting Actor at this point, but also Teller in a sublimely low-key, simmering performance that should garner him more accolades for the young actor who also impressed in last year’s dark “The Spectactular Now.” With solid direction and writing from Chazelle in his feature film debut, “Whiplash” remains mostly in tempo for much of the film, though there are a couple of false notes: the romance with another young college student (Melissa Benoist), isn’t well-drawn, and there is a key plot development in the film that unlike the stirring, often violent practice sessions (where Simmons comes alive in the movie), doesn’t ring with realism. The underlying themes are also familiar: that the mean teacher will inspire to greatness, and also that practice often makes perfect. In the world of real music, practice is not always a substitute for true talent, but it sure makes for a fine, entertaining film.  The searing finale, featuring one of the best, brutally and (literally) bloody good drum solos I’ve seen on film from Teller, will leave you breathless. Put the excellent “Whiplash” on your must-see of films to see this fall.

Exodus 50-minute preview

I had the opportunity to view a rough cut of 50 minutes of the new Biblical epic "Exodus: Gods and Kings" from acclaimed director Ridley Scott ("Alien," "Thelma and Louise" and "Gladiator" among many others) and starring Oscar-winner Christian Bale as Moses and Joel Edgerton as Ramses. Though I won't assign my usual "grade" since this was an uncompleted footage, what we saw was fairly impressive, highlighted by some excellent visuals and special effects, particularly in the handling of the plagues (the frogs were actually kinda scary). Bale also looks to be strong as Moses, though many will be interested how faithful the film will be to the Bible stories - will it channel Charlton Heston and Yul Brynner or will it meet the same wrath as Darren Aronofksy's "Noah," which still made money in spite of the many evangelical groups that lambasted it. The sublime visuals don't surprise, this is Scott's forte, but we will if the rest of the film holds up as well. I'm eagerly anticipating its December release.