Scouts Guide to the Zombie Apocalypse - C-

Sarah Dumont, Tye Sheridan and Logan Miller

Rated R, 93 minutes

The dark new horror comedy "Scouts Guide to the Zombie Apocalypse" is the teenage nerd's survival guide to battling zombie's, and while it has some bloody, fun moments, it's a mess of a movie in more ways than one. What could possibly go wrong when three buddies (Tye Sheridan, Logan Miller, Joey Morgan) decide to join the Boy Scouts? When bloodthirsty, undead ghouls invade their once-peaceful town, it's up to kindhearted Ben, quick-witted Carter and class clown Augie to save the day. With help from Denise (Sarah Dumont), a beautiful but tough cocktail waitress, the boys must put their scouting skills to the ultimate test to save mankind and earn their zombie-killing badges. Directed and co-written by Christopher Landon, who has been associated with some of the "Paranormal Activity" films (he wrote three of those films and directed 2014's "The Marked Ones"), the likable "Scouts Guide" is peppered with enough blood and merriment that will please those who enjoy the zombie genre, though it's not as funny or satisfying as other films in this genre such as "Warm Bodies" or "Life After Beth," with all of the characters here - especially the teenage trio that must save the day - in overused stereotypes. It starts off well with some nice, bizarre, off-kilter moments, such as the turning of funnyman David Koechner (of the "Anchorman" films), as the Dolly Parton singing scout leader, into a zombie, but falls apart in its last act, in a bloody climax that's so contrived it's sure to provoke some eye rolls and "yeah, whatever's." "Scout's Guide" is bloody fun for a minute or two, but as far as zombie's go, this one really lacks bite for your Halloween Weekend. Definitely not worth your time.

Our Brand is Crisis - D

Rated R, 108 minutes

Sandra Bullock

Boy, it sure does pain me to write this review, as much as I love Sandra Bullock and watching her every move, her new political satire comedy, "Our Brand is Crisis," stinks. This misfire, an unfortunate and unfunny look at using American-style political tactics in a South American election, is one of Bullock's most annoying film vehicle since her Razzie-award winning turn in "All About Steve." In 2002, Bolivian politician Pedro Gallo (a fictionalized version of Gonzalo Sánchez de Lozada) hires American James Carville's political consulting firm, Greenberg Carville Shrum, to help him win the 2002 Bolivian presidential election. GCS brings in Jane Bodine (Sandra Bullock) to manage the campaign in Bolivia. Battling her arch nemesis, the opposition's political consultant Pat Candy (Billy Bob Thornton), Bodine successfully uses American political campaign strategies to lead Gallo to victory against Victor Rivera (a fictionalized version of socialist candidate Evo Morales).  Directed by David Gordon Green ("Pineapple Express") and written by Peter Straughan ("Frank") and produced by George Clooney and Grant Heslov, the grating, predictable "Our Brand is Crisis" is based on the 2005 acclaimed documentary of the same from Rachel Boynton, with this film a fictionalized account of the 2002 Bolivian election. It's mostly a bore, with the always charming Bullock walking around looking slightly peeved and munching on snacks throughout the film as she strategizes how to steal votes from her rival, a slick and hammy Thornton in James Carville mode. And no surprise, they start getting votes when they start hitting below the belt and campaigning negatively, digging up dirt about dirty deals and affairs that prove that politicians can be dirty in any country, not just the U.S. Sure, I enjoyed Bullock, and she proves she can handle a role meant for a man, though the script, direction and pacing are all off, veering wildly in different directions, especially in the second act. There are only a handful of truly funny moments, including one for a llama who meets an unfortunate fate, but "Our Brand is Crisis," in spite of a game Bullock, is an unsatisfying comedy that doesn't really work. As much as I hate to say it, skip it for something much better.

Truth - B-

Rated R, 125 minutes

One of journalism's broad responsibilities is to tell the truth, which can carry some heavy consequences with it either way. That and more is explored in the true story of the last days of Dan Rather and his well-meaning producer, the uneven but compelling, well-acted journalism drama "Truth," directed and written by "The Amazing Spider-Man" scribe James Vanderbilt. On the morning of September 9, 2004, veteran CBS News producer Mary Mapes (Cate Blanchett) believed she had every reason to feel proud of a broadcast journalism job well done, producing a story that shed light into then-President George W. Bush's military record. By the end of the day, Mapes, CBS News, and the venerable CBS News anchor Dan Rather (Robert Redford) would be under harsh scrutiny. If you know anything about the Killian documents controversy that came in the final months of the 2004 U.S. Presidential Election, you know it didn't end well for Mapes or Rather (along with others), who lost their jobs over the situation. Based on Dallasite Mapes's non-fiction novel "Truth and Duty," the modestly engrossing but occasionally preachy "Truth" is most memorable for the acting, primarily an engaging Blanchett as Mapes, who this story is really about; Redford's is solid as Rather, and while it's the more high-profile due to Rather's high-profile job as news anchor, he's more of a figurehead and scapegoat for Mapes and her team, an instance of killing the messenger as well as those who developed the story. Redford's weathered look is an advantage here as Rather, and while it's not a direct impersonation of Rather in that it lacks his speech and mannerisms, it captures his commitment to a good story. The strong supporting cast, including Dennis Quaid, James Keach, Elisabeth Moss, Bruce Greenwood and Topher Grace all have a few good moments in spite of Vanderbilt's penchant for a handful of preachy monologues about truth and journalistic integrity, in an effort perhaps to be the next "All the President's Men," which ironically also starred Redford. "Truth" is also somewhat of a misleading title, given the outcome the story and that the documents in question were never proved to be authentic - or fake - for that matter; also, it proves to execute a truly great story, you must have strong storytelling and journalistic qualities, which, in spite of what the movie says, perhaps didn't happen in an effort to get the story to air. Even with its flaws, "Truth" is worth a look for strong performances, from both Blanchett and Redford, both of whom make the movie worth watching.

Burnt - C-

Rated PG, 105 minutes

The sluggish, flavorless new culinary drama "Burnt" starring Bradley Cooper as a douche-bag chef and directed by John Wells ("The West Wing" creator) is peppered with a few compelling moments, though lacking in freshness and real bite. Adam Jones (Cooper) is a Chef who destroyed his career with drugs and diva behavior. He cleans up and returns to London, determined to redeem himself by spearheading a top restaurant that can gain three Michelin stars. Directed by Wells and written by "Eastern Promises" Steven Knight, the handsome and likable "Burnt" has a vacuous appeal and Cooper's eye candy going for it, but it has the calculated spark of a late night McDonald's drive-thru. Cooper is solid as the jerky, bad boy chef trying to make his way, but the uneven script veers off in too many unsatisfactory side dishes i.e. cliched subplots, including some old debts and a new romance, that tend to hamper its predictable finale. As a three-course meal, "Burnt's" appetizer is intriguing, the main course is unfocused, and its dessert rather unsatisfying; it wants to offer something different but serves up the same, stale plot twists that give little depth to this meal overall. Cooper handles it well, but the rest of the talented cast isn't as effective, as he's reunited with his lovely "American Sniper" wife Sienna Miller in the weakest aspect of the movie, an empty, unexplained romance that hurts the movie; Daniel Bruhl ("Rush") in another of the film's unfortunate subplots; Uma Thurman and Oscar-winner Emma Thompson misused in small, underwritten parts, and the most memorable, "The Americans" Matthew Rhys as his rival chef. At least one thing that "Burnt" does get right its most memorable aspect: those delectable real dishes that chef Cooper and his team serve up in the restaurant, which look much more appetizing than the popcorn and candy you'll munch on during the film. Unsavory and unsatisfying, the bland "Burnt," in spite of its likable appeal (and for some, that appeal - Cooper - is enough to engage them), leaves a disappointing aftertaste. Here's your generous tip for this meal: skip it for something far more interesting.

Room - A-

Rated R, 113 minutes

Sometimes small boxes hold beautiful things, which is the premise of the superbly acted, engrossing new drama "Room," based on Emma Donoghue's affecting best-selling novel of the same name. The Irish-Canadian film, directed by "Frank's" Larry Abrahamson and adapted by Donoghue herself, is a fictional but remarkable story of the bond between mother and child but also learning to adapt and re-adapt to a new world. Held captive for years in an enclosed space they euphemistically called "Room," a woman ("Trainwreck's" Brie Larson) and her 5-year-old son (newcomer Jacob Tremblay) finally gain their freedom, allowing the boy to experience the outside world for the first time. The claustrophobic, intense first act of "Room" is essentially a two-person play, kept within the confines of room, with the next chapters dealing with Ma and Jack's freedom and adjusting to their new surroundings. "Room" will be best remembered for two things: the touching story, and the superb, moving performances from Larson and Tremblay, whose plausible chemistry, especially in the first part of the movie, highlight what could've been a downbeat film. Newcomer and 8-year old Tremblay, seen with long, girlish hair for much of the film, is especially touching in a remarkable, breakout turn as the boy who literally saves his mother's life not once, but twice, when Ma has a mental breakdown later in the film. He has the film's most engrossing turnaround as he adjusts to his new life along a few of the film's most memorable sequences, including the harrowing escape from room, as well as the poignant final scene, in which he finally says goodbye to room. Larson is also quite strong as the mother who wants the best for her son, and in spite of her own flaws, will always have a bond with her son; also good is Oscar-nominee Joan Allen (who we haven't seen in a solid big screen role in a few years) as Joy/Ma's mother, who is charged with Joy and Jack's care following their ordeal. With focused direction from Abrahamson, "Room" is one of the year's most powerful, superbly acted films, and put this one on your must-see list. I wouldn't be surprised if Larson, Tremblay along with Donoghue's strong script all receive accolades in the near future.

Beasts of No Nation - A-

Idris Elba

Unrated, 137 minutes

The brutal, unflinchingly intense new drama "Beasts of No Nation" is one of the toughest films of recent memory to watch, but the thought-provoking story and acting will stay with you long after you leave the theater. In West Africa, the life of young Agu (Abraham Attah) is disrupted when his father is slaughtered in a civil war and he is inscripted as a child soldier into a mercenary unit led by the sadistic Commandant (Idris Elba). Directed, written, produced and photographed by Cary Joji Fukunaga ("Sin Nombre," and Emmy-winner for the first year of TV's "True Detective") in stunning detail, the powerful, uncompromising "Beasts of No Nation," based on the novel of the same name from Nigerian author Uzodinma Iweala, it's one of the year's best, must-see films. Along with Fukunaga's masterful direction and intense photography, the highlight is the incredible performances from young 15-year old Ghanaian actor Attah in his debut turn as the boy thrust into a bloody world of a war he doesn't completely understand, as well as Elba as the brutal leader who become a surrogate, father-like figure to Agu. Attah perfectly captures the struggle between adolescence and soldier, and growing up much too quickly in a culture that demands it; his bloody initiation by Commandant is one of the film's toughest scenes to watch, as he must kill an innocent, unarmed man; expect also many other harsh scenes of many dead bodies, blood and body parts. The engrossing "Beasts" is a tad too long, the last act is a little redundant and drawn-out, but still fascinating enough to keep you engaged throughout. Its brutality may not be for everyone, but you won't soon forget its fearless portrait of a young, unsure soldier in the line of fire. Expect to see accolades for this film, especially for Attah and Elba, along with Fukunaga. "Beasts of No Nation" is currently in limited release in theaters and also streaming on Netflix, who also produced and distributed the film.

Paranormal Activity: The Ghost Dimension - D

Rated R, 95 minutes

The "Paranormal Activity" films, from noted horror film producers Oren Peli and Jason Blum, started out with a novel premise but have since milked the "found footage" genre to death, and now it feels so passe, and well, just not that scary anymore. Fans of the "Paranormal Activity" series will be disappointed with the sloppy, silly and needless "Paranormal Activity: The Ghost Dimension," which will likely be the end of the series, unless it makes a dollar or two for its producers. Set in December of 2013 (and almost two years after the Marked Ones), The Fleeges family - father Ryan (Chris J. Murray), mother Emily (Brit Shaw) and their young daughter Leila (Ivy George) - move into a house and discover a video camera and a box of tapes in the garage. When they look through the camera's lens, they begin to see the paranormal activity happening around them - including the re-emergence of young Kristi and Katie. Directed by Gregory Plotkin, "Ghost Dimension" is the worst in the "Paranormal Activity," which is unfortunate for what started as a phenomenon has to end on such a bad note. It tries too hard to tie up loose ends, has an exceedingly dumb last act (time travel - huh?) and fans expecting to see the adult Katie (Katie Featherston), will be very, very disappointed. The lackluster spin-off 2014 movie "The Marked Ones" veered off from the series, and while this returns to the original story, "Ghost Dimension" feels so unnecessary and is simply not as funny or as scary as the other "PA" films, which have admittedly made their producers very, very wealthy.  I wanted to give this last one a chance and there are a few jumps, but to get some real scares, I'd rent the much more chilling first "Paranormal Activity," which still creeps me out to this day.