Laggies - B

Rated R, 100 minutes
Wes's Grade: B

Dramedy “Laggies” a charming coming-of-age for the 20s set

If the new movie “Laggies” was an animal, it’d likely be a middle age cat: somewhat playful, predictable and usually pretty leisurely, maybe purposefully so. If you see “Laggies” you will understand that more, but it’s a charming, enjoyable coming-of-age story for late twenty-somethings in need of more adult responsibility. Solidly cast with some believable performances, it’s also predictable and rambles a little much in its mid-section, but the appealing leads keep it afloat. Overeducated and underemployed, 28 year old Megan (Keira Knightley) is in the throes of a quarterlife crisis. Squarely into adulthood with no career prospects, no particular motivation to think about her future and no one to relate to, Megan is comfortable lagging a few steps behind - while her friends check off milestones and celebrate their new grown-up status. When her high-school sweetheart (Mark Webber) proposes, Megan panics and- given an unexpected opportunity to escape for a week - hides out in the home of her new friend, 16-year old Annika (Chloë Grace Moretz) and Annika's world-weary single dad Craig (Sam Rockwell). Directed by Lynn Shelton (“Humpday”) and written by Andrea Seigel, “Laggies” is an engaging dramedy that intentionally takes time to develop its characters, buoyed by the always lovely Knightley and the sprightly Rockwell, who seemingly steps in and breathes some life into the film. Without Rockwell, whose character brims with a sarcastic honesty, the film would be less effective, particularly because the characters Rockwell and Knightly inhabit are fueled by a calculated appeal that you pick up on from the first moment their characters meet. It’s also nice seeing Moretz in a more fully realized role, and her mentor-ish relationship with Knightley’s Megan gives a film a certain edge; it’s not really a teen movie per se, but movies in which teens play an important role. Also memorable in the solid supporting cast is Mark Webber as Megan’s longsuffering, eternally optimistic boyfriend/fiance; Jeff Garlin as Megan’s imperfect father and Ellie Kemper as an honest friend. “Laggies” lags a little mid-section a little too leisurely, and a subplot involving Annika’s mother doesn’t fit perfectly in the picture, but overall it’s an affecting, entertaining coming-of-age story, with the always funny Rockwell stealing the movie.

Big Hero 6 - B-

Rated PG, 95 minutes
Wes's Grade: B-

Zany, zippy and a little busy, the young ones will enjoy Disney’s Marvel-infused “Big Hero 6”

Disney’s colorful new animated movie “Big Hero 6,” a blend of robots, Marvel comics and Japanese anime, has enough boundless energy, particularly in its last act, to appeal to many hyperactive children who will enjoy all the bounce and movement of the story. It’s nothing new, though the first “WALL-E” inspired act is much better than the “Avengers” style madness that comes in the climax.  Robotics prodigy Hiro Hamada (Ryan Potter), who learns to harness his genius-thanks to his brilliant brother Tadashi (Daniel Henney) and their like-minded friends: adrenaline junkie Go Go Tamago (Jamie Chung), neatnik Wasabi (Damon Wayans Jr), chemistry whiz Honey Lemon (Genesis Rodrigues) and fanboy Fred (TJ Miller). When a devastating turn of events catapults them into the midst of a dangerous plot unfolding in the streets of fictional San Fransokyo, Hiro turns to his closest companion-a robot named Baymax (Scott Adsit)-and transforms the group into a band of high-tech heroes determined to solve the mystery. Co-produced by John Lasseter, who helmed some of Disney/Pixar’s finest movies including “Toy Story,” directed by Don Hall and Chris Williams and based on the “Big Hero 6” Marvel comics series, the entertaining “Big Hero 6” is frenetic, fast-paced and literally jammed-packed with bouncy action in its second half. Overall, it’s not the best Disney effort (this is the 54^th animated Disney effort), nor the worst by any means, just appealing to a different mindset that can handle the busyness of it all. The more effective parts concern the relationship between Hiro and robot Baymax, who seems a low-key combination of “WALL-E” and the staypuff marshmellow man from the “Ghostbusters” films.  The film becomes too zippy and even dizzying in its final moments, but its colorful, well-voiced, most memorable the always-fun T.J. Miller, Adsit as the robot and stalwart James Cromwell, who has fun in a good/bad role. “Big Hero 6” is hardly a subdued effort and comes recommended for young kids, who’ll get a kick out of it all, while their parents may opt for something a little quieter and less frenetic.

Interstellar - C+

Rated PG-13, 169 minutes
Wes's Grade: C+

Nolan's grand time/space epic "Interstellar" tediously entertains

The new Christopher Nolan epic space film "Interstellar" sure takes its time. In its quest to solve the space-time continuum and mix it with human emotion, the movie is both compelling and well-acted, though the overly ambitious, lackluster script doesn't help its case. Lacking a sense of efficiency felt with his other films, "Interstellar" has some worthy moments but is a disappointment compared with his other work. When a wormhole in space is discovered, explorers and scientists (including Michael Caine and Anne Hathaway) unite to embark on a voyage through it, transcending the normal limits of human space travel. Among the travelers is a widowed engineer, Cooper (McConaughey), who must decide whether or not to leave his two children (Mackensie Foy and Timothee Chalamet younger/Jessica Chastain and Casey Affleck older) behind to join the voyage and attempt to save humanity from an environmentally devastated Earth finding a new habitable planet in another galaxy. Directed by Nolan, who co-wrote with his brother Jonathan, "Interstellar" attempts to solve how to save mankind on Earth by essentially exploring new places to inhabit. Slick and entertaining but about 30 minutes too long, it's similar in scope to some of other Nolan's films ("Memento" and "Inception" come to mind in this case), which become larger and more complex with each of his movies; it's an intriguing yet very heady idea with some engrossing moments, but often frustrating to grasp, particularly in its later, more preposterous moments. Energetically scored by Nolan's go-to guy for music, Hans Zimmer and handsomely photographed by "Her's" Hoyte van Hoytema, the technical aspects, as with all of Nolan's films, are first-rate, but the film isn't without some big flaws. The flat dialogue and tedious second act, which is heavy with spaceship drama including an unnecessary subplot involving a miscast Matt Damon, drag the movie down, making it feel much longer than necessary; as well, the blocky robots (one of whom is well-voiced by character actor Bill Irwin), seem as clunky as its dialogue. Of the large cast, McConaughey and a less annoying Hathaway are both solid, though a fiery Chastain, who doesn't come into the film until well in the second act, is the standout in a more affecting, fully-realized role; if McConaughey is the heart of the movie, Chastain is its soul, and the movie is more in-synch when she is onscreen. Even more puzzling than some of the plot's oddities is why the movie is so shrouded in secrecy, given its big climax and supposed twist is ho-hum in terms of emotional heft and payoff. Nolan should consider a return to making a smaller, more intimate movie than trying to solve the world's problems - and not to give anything away - he misses by a long shot here. If he and "Interstellar" had solved the space-time continuum and the theory of relativity, tell that to my bladder, which didn't make it through its excessive 169-minute running time. The modestly entertaining but too-ambitious "Interstellar" has some good moments and may appeal to Nolan's fan base, but he's done better.

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.