A LEGO Brickumentary - C+

Rated G, 95 minutes

LEGO's can be awesome as demonstrated in the somewhat fascinating, playful new documentary "A LEGO Brickumentary," which explores the global phenomenon LEGO's have become since they were first introduced in Denmark in 1958, though you have to really, really love them to genuinely appreciate it. LEGO bricks are being used educationally, therapeutically, and have provided a universal system for human creativity and our innate desire "to build." "Brickumentary" delves into the extraordinary impact of the LEGO brick, its massive global fan base, and the innovative uses for it that has sprung up around the world. Entertaining and often fun but often feeling like an extended infomercial for LEGO's themselves, "A LEGO Brickumentary" is a modestly delightful but somewhat annoying look at the toy company 400 million bricks strong since its inception. Written by Daniel Junge and Kief Davidson and narrated by Jason Bateman in animated LEGO form, after the popularity of the huge animated film "The LEGO Movie" (which was mostly CGI, as LEGO enthusiasts in the film gladly point out yet something most people already knew) this would come as no surprise, though not the first to look at the LEGO company, see the 2012 animated Danish short "The LEGO Story" for more, but this explores the fascination with LEGO's over the last 50 years. There are LEGO conventions across the globe such as LEGO Con and Brickfair where LEGO geeks gather to inspire and show off their work; there are legitimate LEGO artists such as Nathan Sawaya who display their sublime work; there are huge displays of LEGO's, including my favorite, the largest LEGO display ever, a full-scale replica of a Star Wars X-Wing Fighter, not to mention LEGO Adult Fan Alice Finch's impressive replica of the city of Rivendell from the "Lord of the Rings" films (she later built an even more impressive replica of the Hogwarts castle from the "Harry Potter" movies, not seen in this documentary but you can find online), such a tremendous feat she won best in show honors at the nationwide LEGO convention several years in a row; LEGO's are even being used in therapeutic situations with autistic children, something the film only skims the surface on. Heck, LEGO enthusiasts even have their own language, including the most common, AFOL's or Adult Fans of Legos and LUG's, or Lego User Groups, and the LEGO company has become increasingly interactive to encourage building new ideas and developing new LEGO sets. All of this is mildly interesting, though if you don't love LEGO's, much of it might be lost on you (the huge LEGO X-Wing fighter is still sorta cool though). On that note, "A LEGO Brickumentary," featuring slightly annoying, overdone narration from Bateman, will appeal mainly to LEGO geeks and toy lovers who enjoy spending all that time putting together the pieces, while the rest of us will appreciate the finished product.

Mission: Impossible Rogue Nation - B

Rated PG-13, 132 minutes

No matter your personal, off-screen feelings for Tom Cruise, you have to admit that the action-packed "Mission: Impossible" films, which have been going on now for nearly two decades, are his calling card at this point in his career. As the spy with more than nine lives, his fun and energetic but hardly surprising "Mission: Impossible Rogue Nation" once again delivers the goods and is poised to be this summer's next big blockbuster. The IMF agency comes under threat from the Syndicate, a near-mythical organization of assassins and rogue operatives who kill to order. Faced with the IMF's disbandment, Ethan Hunt (Cruise) assembles his team for their final and most difficult mission—to prove the Syndicate's existence and bring the organization down by any means necessary. Directed and written by frequent Cruise collaborator and Oscar-winning writer Christopher McQuarrie ("Jack Reacher," "The Usual Suspects"), "Mission: Impossible Rogue Nation" is another fast-paced, action-packed thriller in the "M:I" franchise and the fifth film in the series, showing a muscular resurgence (and while this is good, the previous entry, "Ghost Protocol," is better) along with that familiar, iconic Lalo Schifrin tune. Featuring Cruise and an all-star cast, some familiar faces along with some new ones, including Jeremy Renner, Ving Rhames, Simon Pegg, Alec Baldwin, and as Cruise's love interest and chief antagonist, Rebecca Ferguson and Sean Harris, respectively, the film's typically preposterous plotting only serves to show off its energy and some well-staged action sequences, including an impressive opening scene (and the one prominently featured in the film's trailers) with Cruise literally hanging off the side of the plane, as well as many breathless car-motorcycle chases, the best one of which occurs mid-film amidst the Moroccan desert, not to mention a sublime underwater scene and a clever climax with more of those all-too familiar masks. Someone is always double-crossing someone in the "M:I" films which makes it seem redundant and confusing, but they're also terrific fun to watch, with some stellar comic support from Pegg as Benji, who by now is in need of his own comedic spinoff spy movie that could put Melissa McCarthy to shame. "Mission: Impossible Rogue Nation" has few, if any surprises, but it's still vastly entertaining and a decent thriller that's fun to be a part of. A must-see if you enjoy these movies.

Samba - C

Rated R, 106 minutes
In French, with English subtitles

The new romantic French drama "Samba" is the new movie from the directors and star of the immensely entertaining 2011 hit "The Intouchables." "Samba," much like that film, has plenty of heart and appealing leads, but it's bumpy script struggles with a meandering story and identity problems. The movie tells of an undocumented kitchen worker battling deportation from his adopted home in Paris. For ten years, Senegalese immigrant Samba (Omar Sy, charming as ever) has stayed under the government radar, taking menial kitchen jobs in the hope of becoming a professional chef. He meets a local immigration worker named Alice (Charlotte Gainsbourg of "Terminator Salvation"), a depressed professional with issues of her own, and the two fall for each other while helping each other the possibilities that await them. Co-written by "The Intouchables" Olivier Nakache and Eric Toledano and co-directed by Nakache, Toledano and Rafael Gil, "Samba" is a disappointing, uneven affair with a slow, wandering middle act that makes it feel much longer than it really is. Cesar Award winner and "Intouchables" star Sy gives another rich performance as the Senegalese immigrant who moves from one crappy job to the next in hopes of fulfilling his dream as a chef; Gainsbourg is also good as the immigration worker with an instant attraction to Samba. You would think with a title like samba, that it would have more life and excitement like the South American dance does, instead it's talky and slow with some obvious identity problems: part immigration drama, part romantic drama and part buddy-buddy comedy, none of which is fulfilled, especially the romance, which really doesn't take any true shape until very late in the movie (as in the final few scenes). The immigration aspect is the most compelling, and there are some moving moments as Samba dreams of a "house by the lake with all he needs" and some fun moments with his "Arab-Brazilian" buddy Wilson (a memorable, funny Tahir Rahim), including a humorous stint as window washers. Sy's great performance is the best thing about the likable but sluggish French drama "Samba," and you're better off skipping it and renting the much more affecting "The Intouchables," which didn't get its true appreciation here in the States.

Vacation - C-

Rated R, 99 minutes

Well, for the record it's not a remake but a sequel. Those who enjoyed the classic 1983 family trip comedy "National Lampoon's Vacation" may find solace in that, and the new version of "Vacation," much like the original, is profane, predictable and mildly enjoyable. Sporadically funny and exceedingly silly, it's not as memorable as that '80s version and missing some of its key elements (no Christie Brinkley or Cousin Eddie) but its low-brow humor fits in perfect with some of today's comedies. Following in the footsteps of his father Clark (Chevy Chase, appearing briefly) and hoping for some much-needed family bonding, a grown-up Rusty Griswold (Ed Helms) surprises his wife, Debbie (Christina Applegate), and their two sons, James (Skyler Gisondo) and Kevin (Steele Stebbins), with a cross-country trip back to America's favorite family fun park: Walley World. Co-directed and written by "Horrible Bosses" scribes John Francis Daley and Jonathan Goldstein, "Vacation" is a bumpy road, dumb fun and escapist entertainment - if you need a mindless getaway - then this might be your answer. The original "Vacation," which at the time seemed a little edgy in its dirty humor, now seems pale compared to some of the new film's contemporary, low-brow antics due to changing times, but it doesn't mean the comedy has evolved, it's just what audiences seemingly want, including some nudity (male and female), a little blood, some borderline sexual/creepy humor and of course a generous splattering of feces. With a very game, energetic Helms and Applegate, "Vacation" still hits some snags with its hit-and-miss, mean-spirited humor, often losing its way underneath its episodic gags, some of which work - the final Wally World sequence was fun, along with periodic nods to Seal and his classic tune "Kiss From A Rose"- and some of which don't - including a misplaced, unfunny stop in Texas (in Plano of all places) with Leslie Mann and a miscast Chris Hemsworth as sister Audrey and her rich cowboy husband. I did feel some nostalgia seeing Chase and Beverly D'Angelo, as brief as it was in the last act, as well generous helpings of Lindsey Buckingham's catchy, familiar "Holiday Road" and the most important cameo of all, the Family Truckster, all shiny and square and ready to hit the road. The serviceable "Vacation" is sporadically fun but mostly silly, stupid and unnecessary, which could also speak to many family vacations. You'll be glad to get home after this mediocre "Vacation" which sometimes gets lost and sometimes will make you giggle a time or two too; for the record: the funniest part is its opening credits, which feature those real-life, uncomfortable vacation pictures you often see floating around online.

Southpaw - B-

Rated R, 123 minutes

The hard-hitting, entertaining new boxing film "Southpaw" pulls some solid punches from a story you've seen before. Superbly acted in a transformative performance from a bulky Jake Gyllenhaal, the acting and impressively staged boxing scenes lift it from its well-worn, predictable story (down-on-luck boxer comeback story). Billy Hope (Gyllenhaal) seemingly has it all with an impressive career, a beautiful and loving wife (Rachel McAdams), an adorable daughter (Oona Laurence) and a lavish lifestyle. When tragedy strikes and his lifelong manager and friend (Curtis "50 Cent" Jackson) leaves him behind, Hope hits rock bottom and turns to an unlikely coach at a run-down local gym: Tick Willis (Oscar winner Forest Whitaker), a retired fighter and trainer to the city's toughest amateur boxers as he struggles with redemption and to win back the trust of those he loves. Directed by Antoine Fuqua ("The Equalizer"), and co-written by Richard Wenk and "Sons of Anarchy's" Kurt Sutter, "Southpaw" is well-acted and enjoyably gritty amidst some of the script's more calculated turns. The story is most problematic in the first act, when Hope goes from hero to zero in two seconds flat - and while it's believable it's not exactly realistic given how much money and notoriety that real boxers make these days - not to mention they kill off the lovely, underused McAdams in a flash. From there, you have a sense as Hope builds his way back up and into the ring, what will happen (and it does, unsurprisingly), though a bulked up Gyllenhaal gives another of his typically stellar turns as the down-on-his-luck boxer, and he's well-supported by Whitaker, in one of his better roles of recent memory, and charming Broadway actress Laurence as his angry daughter. The boxing scenes, especially the moving final fight, highlight the modestly powerful "Southpaw," and it's a must-see for those who enjoy boxing and boxing movies in particular. While overall not as gritty "Raging Bull" or lacking the emotional gravitas of a "Rocky," it's still worth a look for Gyllenhaal's strong performance.

Paper Towns - C+

Rated PG-13, 109 minutes

"Paper Towns" is a charming young adult coming-of-age dramedy with some good aspects - namely its appealing, breakout leads - though its story lacks the substance of others in this genre and tends to play it too safe. Quentin "Q" Jacobsen (Nat Wolff, the scene stealer from "The Fault in Our Stars") lives next door to enigmatic Margo Roth Spiegelman (British actress Cara Delevingne), his childhood neighbor from whom he has since drifted, but still has feelings for. One night, when she climbs through his window and summons him on an all-night trip of revenge, he can't help but follow her lead. The next day Margo goes missing and Q soon learns that there are clues in her disappearance that seem to be meant for him to make sense of. In his quest for true friendship and love, Q becomes unsure exactly where this adventure might lead him. Based on John Green's best-selling young adult novel of the same name, "Paper Towns" is directed by Jake Schreier ("Robot & Frank") and written by Scott Neustadter and Michael Weber, the team behind Green's "The Fault in Our Stars" film adaptation and "The Spectacular Now" and should be a hit with the young female set this primarily appeals to. The movie is a mixed bag and could've been essentially a contemporary, more winsome "Perks of Being a Wallflower" as it follows three nerdy pals - played with geeky energy by Wolff, Justice Smith and Austin Abrams - striving to find love with their ideal women, which looks different to all of them. On that note, when it focuses on the friendship of these geeks "Paper Towns" works best (highlight: the trio singing the "Pokemon" theme song), but it tends to lose its way in the last act spending way too much time on an unnecessary, fruitless road trip to find their eccentric friend. It seems a waste given the disappointing outcome (the script, unlike the book, doesn't really bring that out), and the movie seems to only scratch the surface of teenage rebellion or true love: falling in love with a real woman, or what your ideal image of your woman is. A modestly entertaining effort, "Paper Towns" is memorable for its breakout stars Wolff and Delevingne, a lovely presence whose role seems minimal here, who seem destined to be the next Shailene Woodley and Miles Teller (who cameos here along with Ansel Elgort), but just know this is junior league stuff compared to the aforementioned "Fault," "Spectacular Now" and "Perks." The characters here speak of each other here as "something special" - too bad the movie doesn't quite measure up to that.

Safelight - D

Rated R, 84 minutes

The dull, generic teen drama "Safelight" is in need of some spark to give it some life. In spite of its attractive leads, it's a story you've seen so many times before you could probably guess what will happen. A high-school student ("X Men Days of Future Past's" Evan Peters) tries to help a troubled runaway ("Far From the Madding Crowd's" Juno Temple) escape from the clutches of her psychotic pimp (Kevin Alejandro). In the process, they discover a renewed sense of possibility as they go on a road trip to photograph lighthouses along the California coast. Directed and written by Tony Aloupis ("Sugar"), this cookie cutter teen romance in which an unlikely pair - this time the nerdy teen with a limp and the young prostitute - go off to take pictures of lighthouses in hopes this will give some sense of self-discovery. What they really need to find is an original, revelatory script and direction that loses its way early on; and for the record its premise, driving around and looking at those pretty lighthouses, isn't really given that much footage. Peters and Temple are both handsome, bland leads with little chemistry, and even more they can't overcome the many cliches in the script that seem to suffocate the story: the mean boys, mean pimp, the ill father, the dead brother, the even meaner sisters, all of which add up to very little. The picturesque light houses, some cool 70's cars and a wisecracking Emmy and Golden Globe winner Christine Lahti, aren't used near enough to make a difference in "Safelight's" sleep-inducing, talky storyline that meanders, especially those dreary father-son conversations between Peters and his screen dad Jason Beghe, all over the place until it reaches a laughably staged climax with Alejandro's evil pimp. Lighthouses are meant as a source of guidance and help, and ironically the awfully unsatisfying and just awful movie "Safelight" could use a big helping of it in terms of originality, story and characters.