Black Sea - B

Rated R, 115 minutes
Wes's Grade: B

Tense submarine thriller "Black Sea" goes to the depths of suspense

There's just something about the close, tight quarters of submarines that tend to make for intense movies: "Das Boot," "U571" and "Crimson Tide" among them. Add the new British thriller "Black Sea" from Oscar-winning director Kevin McDonald ("The Last King of Scotland") and starring Jude Law. Suspenseful and entertaining, it doesn't work perfectly but well enough for a satisfying character-driven action film. The story centers on a rogue submarine captain (Law) who pulls together a misfit crew to go after a sunken treasure rumored to be lost in the depths of the Black Sea. As greed and desperation take control onboard their claustrophobic vessel, the increasing uncertainty of the mission causes the men to turn on each other to fight for their own survival. Directed by McDonald and written by British stage and TV writer Dennis Kelly, "Black Sea" is a tense, efficiently made, dark and well-acted drama that provides a handful of well-staged, breathless moments, particularly in the last act. Law, a dashing leading man who looks considerably older here, is convincing as the driven, off-kilter captain who'll do anything for some gold and to better himself. He headlines a fine supporting cast of mostly familiar character actors, including the always-good (and native Dallasite) Scoot McNairy ("Argo") as a real slimeball, Australian actor Ben Mendelshon and British actor Karl Davies, the most memorable of the crew members. Not everything works perfectly, though: the initial chapters are a tad slow, and the climax, considering the lead character's desire to become a better person, is a tad anti-climactic and even predictable. Even with its flaws, the powerful submarine thriller "Black Sea" is an action film that's still worthwhile, and a nice change of pace for the cinematic dumping ground that is known as January.

The Loft - D

Rated R, 104 minutes
Wes's Grade: D

Mildly entertaining but dumb thriller "The Loft" full of plot holes and cliches

The basic premise of the new psychological thriller "The Loft" is that all men are lying scumbag and perverts and get what they deserve. A remake of a 2008 Belgian thriller called "Loft" that was filmed in 2011 and sitting on the shelf due to distribution problems, it's one of those it's-so-dumb-it's-entertaining movies that could be a guilty pleasure in the right frame of mind. Five married men (Karl Urban, James Marsden, Wentworth Miller, Eric Stonestreet and Matthias Schoenaerts, who reprises his role from the original film) share ownership of an upscale, urban loft, which they use to discreetly meet their respective mistresses. When the body of a murdered woman is found in that loft, the men begin to suspect each other of having committed the gruesome crime, as they are the only ones with keys to the premises. Through flashbacks, which are intertwined with scenes from the present, the entire story is unraveled. Directed by Erik Van Looy, who directed the original film, and co-written by Bart De Pauw and Wesley Strick, "The Loft" is a dumb, preposterous thriller featuring some of the dumbest but stylish men on the planet, and is one of the most misogynistic movies seen in some time, treating women in the very worst of ways (mostly as if they have no brains). It wastes a talented cast under a hackneyed, muddled script full types and cliches: the charming douche bag (Urban), the smart douche bag (Marsden), the psycho (Schoenaerts), the mysterious one (Miller) and the dumb ass (Stonestreet), none of whom are all that memorable, except for maybe Belgian actor Schoenaerts, convincing as the slimy lunatic. There are some murky plot contrivances, such as a note, a realtor and some DVDs, that are never really fully explained and predictable enough you'll likely know who did it before you get to the end - I for one, went with my gut feeling from the opening shot - and was still spot on. Yes, it's all rather silly and those flashbacks often confused me even more, but I kept watching and couldn't turn away, yet I was perplexed at how men this dumb were able to pull off having a "special loft" in the first place (or as one character puts it, " an f-pad"). Many men can be lying scumbag and perverts, but the ones who made the ridiculous thriller "The Loft" are just dumb if they expect us to actually buy any of it. Maybe worth a rental, if nothing else is available.

Project Almanac - D

Rated PG-13, 106 minutes
Wes's Grade: D

Time-traveling "Project Almanac" is found-footage at its most annoying

Thank you, Michael Bay for another headache due to a movie of yours. Bay is one of the producers of the new sci-fi, found footage film "Project Almanac,"which involves teens, time travel and a real test of your faith if you sit through this sloppy dreck posing as a movie. It definitely plays to the MTV crowd, who may enjoy all the chatter and jumpy edits, but the rest of us may have to reach for some Dramamine. A group of friends (Jonny Weston, Sofia Black D'Elia, Sam Lerner, Allen Evangelista and Virginia Gardner) discover plans to build a time machine and then build one themselves. They use the time machine initially to undo past mistakes, and eventually their goals turn towards their own gain and pleasure but soon realize that changing the past has dire consequences in the future which hurts some people along the way. Directed by Dean Isrealite and co-written by Jason Harry Pagan and Andrew Deutschman, "Project Almanac" has some energy and a decent premise, but it's never fully realized amidst all the jumping around, and the thin premise is only underscored by the fact that it takes so long (at least for the first full hour of the movie) for these boneheads to really do anything. Worst of all, it plays to the biggest weakness of the found footage films in the first place, and that is the irritating, exceeding and unecessarily jumpy editing that makes it feel like the movie is all over the place, and not just with the thin story; it became so annoying I had really trouble following it because I was simply dizzy with all the camera movements. "Project Almanac" has more holes you can jump through, and the special-effects are pretty low grade too, but then expectations may not be high for something like this. Shot in 2013 and sitting on the shelf for two years, it should've stayed there. For a better, similarily-themed found footage movie (a mixture of teens and sci-fit), rent the 2012 movie "Chronicle." This one is definitely one to skip.

Black or White - C+

Rated PG-13, 121 minutes
Wes's Grade: C+

Well-acted but predictable "Black or White" skims the surface of some important issues

The issue of racial divide has never been felt more in the U.S. in recent months, and on that note, the affecting, well-acted new drama "Black or White" is a timely effort, though it's really just a surface exploration of race and community that may have played better on the small screen. The movie tells the story of a grandfather named Elliot, (Kevin Costner) who is suddenly left to care for his beloved granddaughter Eloise (newcomer Jillian Estell in her feature film debut). When her paternal grandmother Rowena (Octavia Spencer) seeks custody with the help of her brother (Anthony Mackie), the little girl is torn between two families who love her deeply.  Directed and written by Mike Binder ("Reign Over Me"), "Black or White" strives to be the next Very Important Movie and while it often misses that mark, there are a handful of compelling, if not overly calculated moments, especially in its final, overextended last act. For one, it's superbly acted from its leads, giving Oscar-winner Costner his strongest role in years, and if you're accustomed to seeing in lighter, romantic comedy roles (he's drunk through most of the film), you may not want to see it; fellow Oscar-winner Spencer is equally as good, her varied facial expressions tell what's going before she says anything at all, a mark of a wonderful actor. Second, it benefits from a solid supporting cast, including newcomer Estell, who is the film's most engaging in a natural, unaffected turn, as well as Bill Burr (as Elliot's co-worker and confidant), Mpho Koaho (as Eloise's math tutor) and Andre Holland (as Eloise's junkie father), who all have a few memorable scenes. What isn't as good is Binder's overly ambitious but predictable script, which is often too broad and too obvious in TV-movie like form - and much like its title - seems to lacking in shades of gray and subtlety, particularly in some of the simplistic courtroom scenes, which except for Costner's important monologue at the end, go on too long. The modestly touching (yes, take a few tissues) "Black or White" isn't the reverential, pertinent discourse it should be and only skims the surface of the issues it raises, and while entertaining, every time I hear "Black or White" it reminds me of something far more memorable: the energetic 1991 Michael Jackson song and video, which has far more going for it, including Jackson's spirited dance moves and an appearance from "Home Alone's" Macaulay Culkin.

Two Days, One Night - B

Rated PG-13, 95 minutes
Wes's Grade: B
In French with English subtitles

French drama "Two Days, One Night" a powerful, well-acted statement on community

The power of community and voice can have both good and potentially negative effects on its inhabitants. The compelling new French-Belgian drama "Two Days, One Night" explores that, led by a subdued but strong turn from Oscar-winner Marion Cotillard ("The Dark Knight Rises"), who is nominated for the Oscar for Best Actress this year for the role. Sandra (Cotillard) has just been released from the hospital to find that she no longer has a job. According to management, the only way Sandra can hope to regain her position at the factory is to convince her co-workers to sacrifice their much-needed yearly bonuses. Now, over the course of one weekend, Sandra must confront each co-worker individually in order to win a majority of their votes before time runs out. Co-directed, produced and written by French filmmaking brothers Luc Dardenne and Jean-Pierre Dardenne, the unassuming thought-provoking drama is most memorable for the subtle but believable turn from Cotillard in one her best roles to date. It will make you think about the power of community and the democratic process; what can be good for one person can destroy another, and Sandra, who has struggled with depression and suffered a nervous breakdown, is on the verge of losing most everything in her life, including her understanding husband and kids. The satisfying "Two Days, One Night" can also be slow-moving and even uninvolving if you don't pay attention to its details, but it's memorable for the pensively believable performance from Oscar-winner Cotillard, whose Oscar nomination for the film is well-deserved.

The Humbling - C

Rated R, 102 minutes
Wes's Grade: C

Pacino's great in "The Humbling" but can't overcome plot's familiarities

"The Humbling" is a rather odd name for a dark, character-driven comedy, but then it's an odd film too. A well-acted dramedy, "The Humbling" is also too predictable and too familiar, in spite of a great cast and director. Over-the-hill stage actor Simon Axler (Al Pacino) struggles to find his passion for life again physically and mentally. Near his breaking point, he finds motivation in the form of a young and lustful lesbian Pegeen Stapleford (Greta Gerwig), but as their relationship heats up Simon has a hard time keeping up with the youthful Pegeen. Directed by Oscar-winner Barry Levinson and written by Buck Henry and Michal Zebede and based on Philip Roth's 2009 novel of the same name, "The Humbling" is a well-acted but uneven and often flat, dark dramedy that's made better by Pacino's solid, believable performance as the washed-up actor who doesn't often know what's going around him. Problematic is the fact that his predictable romance with indie queen Gerwig, who is also good here, is slightly creepy (it's so tiring to see the much older man/younger woman romance), and the fact that some plot points, including the strange ending, aren't well handled. The solid supporting cast helps keep it moving along, including strong turns from Dan Hedaya and Dianne Wiest as Pegeen's befuddled but bitter parents, and Charles Grodin, stealing scenes as Pacino's nervous agent. "The Humbling's" biggest error is that Oscar-winner Levinson, the talented director of such acclaimed films as "Rainman" and "Wag the Dog," mishandles the material and doesn't seem to be a good fit, only touching the surface of some of the novel's more serious aspects (such as Simon's struggle with dementia) and not fully exploring its characters. "The Humbling" isn't an awful movie, just a calculated one that you've seen before and won't likely want to see again.

The Boy Next Door - D

Jennifer Lopez

Rated R, 91 minutes
Wes's Grade: D

No surprise, but JLo "The Boy Next Door" a silly, unoriginal mess of a thriller

Singer and "American Idol" judge Jennifer Lopez occasionally makes a movie in an attempt to show her versatility as a performer, but it generally comes across very badly ("Gigli," "Enough" and "The Back-Up Plan" all come to mind, among others) for her. This time in the it's in the dumb, terribly acted "Fatal Attraction" ripoff which should do nothing but attract the attention of Razzie Award voters. Going through a divorce, high school teacher Claire (Jennifer Lopez) has a one-night stand with a young neighbor (Ryan Guzman), who quickly develops a dangerous obsession with her. Directed by Rob Cohen (of the first "The Fast and the Furious" movie) and written by Barbara Curry, there isn't much good about the awful, third-rate thriller "The Boy Next Door" which should've been sent straight to Lifetime movie purgatory, where it'll end up anyway. It should come as no big surprise how bad it is, but the real surprise is that a lovely, A-list performer like Lopez can't find anything at all available except this low-budget dreck, which features some of the worst dialogue seen this side of Adam Sandler ("stay away from him he's a bad influence" she tells her son - gee ya think so?). I also didn't buy for a second that Lopez was a high school lit teacher, only focusing on the classics (of course) any more than I bought Chris Hemsworth as a nerdy hacker in the recent flop "Blackhat" or the fact that the buff Guzman (seen in a couple of the "Step Up" movies) would bother going to the lengths he does for no real motivation to do so, which after all being said and done, is not fully or clearly explained. Casting-wise, I'm most disappointed that "The Boy Next Door" wastes a terrific, funny actress in the Tony-award winning Kristin Chenowith, who literally gets the ax here, among many of the predictable, laughable moments, including that just plain silly climax. Of all the bad lines in the film, her husband (played by John Corbett, who must've really needed the money) asks her, "haven't we all made mistakes before?" Why, yes, yes you have JLo, and count the badly-acted, written, directed and edited "The Boy Next Door" as another one of your cinematic blunders.

Mortdecai - D

Rated R, 106 minutes

Gwyneth Paltrow and Johnny Depp

Wes's Grade: D

Dreadfully unfunny comedy "Mortdecai" is Depp's fault

Well, the Depp Downslide is real and is continues to unfold. Johnny Depp's latest cinematic travesty is the painfully unfunny comedy thriller "Mortdecai," based on the Charlie Mortdecai book series from Kyril Bonfiglioli, who must be turning over in his grave after reading some of the reviews of the film. Juggling some angry Russians, the British Mi5 (Ewan McGregor), his impossibly leggy wife (Gwyneth Paltrow) and an international terrorist (Jonny Pasvolsky), debonair art dealer and part time rogue Charlie Mortdecai (Depp) must traverse the globe armed only with his good looks and special charm in a race to recover a stolen painting rumored to contain the code to a lost bank account filled with Nazi gold. Directed by acclaimed screenwriter David Koepp ("Jurassic Park," the first "Spider-Man" and Depp's own "Carlito's Way" before he sold out to making awful movies like this), the miscast and miscalculated "Mortdecai" is as horrible as it looks, and if you want an idea of how bad you can just take a look at the pictures of the hideous moustache sported by Mortdecai hroughout the movie. Depp, whose charm has grown thin of late, is just wrong for the part, and his attempts at an Inspector Clouseau-type of "Pink Panther" thriller falls very flat, to the point that this incoherent mess of a movie gave me a headache trying to follow it and see it lumber through it's paces. The only real character I liked was Mortdecai's assistant/henchman, Jock Strapp (it looks much funnier on paper than it really is), who is a good sport about being beat up, thrown around and generally abused for the sake of his employer. Paltrow tries hard in a pretty character that's really unnecessary to the movie itself, and she is wasted, as is the lovely Olivia Munn and usually funny Jeff Goldblum. Yes, Mr. Depp, this is your fault, again (though the recent "Tusk" was not), and I simply didn't find a thing about it funny or even mildly charming. My recommendation to him, before his downslide completely ruins his career, is to simply retire to that island of yours, disappear from the public for a few years and reemerge in small, supporting parts in edgy, independent films that may restore some of your cred as an actor (which may not happen since he just signed on to another "Pirates" film, a big mistake). No surprise, but skip the dreadful "Mortdecai," it really is an unpleasant experience.

Strange Magic - C-

Rated PG, 99 minutes
Wes's Grade: C-

Visuals best thing about the disjointed, uneven animated Lucas-inspired romp "Strange Magic"

For a fairy tale about magic and love, the new animated musical "Strange Magic" is sure uninspired. It's an odd mixture of many things: Shakespeare, George Lucas, Shrek and some contemporary songs that try to tell this unusual fantasy story that winds up an incoherent mess, wasting a talented cast and crew who obviously worked diligently to put it together. "Strange Magic," a new animated film that is a madcap fairy tale musical inspired by "A Midsummer Night's Dream." Popular songs from the past six decades help tell the tale of a colorful cast of goblins, elves, fairies and imps, and their hilarious misadventures sparked by the battle over a powerful potion. Directed and co-written by Academy Award-winning sound technician Gary Rydstrom ("Saving Private Ryan" and "Jurassic Park" among others) and with a story from George Lucas himself, "Strange Magic" is lovely to look at but has little to offer in terms of an original story that makes much sense. It must've looked far better on paper when envisioned by Lucas, yet it ends up one of the, well, strangest and kookiest animated films I've seen in some time, and not in a good way. The movie has a strong, talented voice cast including Evan Rachel Wood, Alan Cumming, Kristin Chenowith, and Alfred Molina, and the clean animation and colorful visuals highlight the film, but it's simply a film whose odd, uneven story and characters may lose the young ones from the start (and yes, we get the message early on, everyone needs love, but we also need a good movie to go with it). In addition, and perhaps most important, as a musical it fails, with some awfully strange, distracting song selections - ELO's "Strange Magic" - for which the film is named - as well as Michael Franti and Spearhead's "Say Hey" (a good song that's just misused here) and Elvis' "Can't Help Falling in Love" - I mean, was nothing available from Elton John, Kenny Loggins or even Beyonce (whose "Crazy in Love" is briefly heard - another odd choice)? I just had trouble connecting with all of this and I can only imagine that the young ones would too, and I'm unsure if the end product is really what Lucas, who is brave having his name attached to a mess like this, initially conceived. "Strange Magic" is one strange film, and one film to avoid. 

A Most Violent Year - B

Rated R, 125 minutes
Wes's Grade: B

"A Most Violent Year" a tense, gritty crime drama

If "A Most Violent Year" had been made years ago, it would've likely starred Al Pacino or Robert DeNiro and would've been directed by acclaimed late director Sidney Lumet. The intense, gritty new crime drama "A Most Violent Year" channels Lumet as it brings it's slow-moving plot to a boil; while it lacks some originality, its stellar performances make this one a must-see. Set in New York City during the winter of 1981, statistically one of the most violent years in the city's history, the film centers on the life of an immigrant (Oscar Isaac) and his wife (Jessica Chastain, nominated for a Golden Globe for this role) trying to expand their business and capitalize on opportunities as the rampant violence, decay, and corruption of the day drag them in and threaten to destroy all they have built. Directed and written by J.C. Chandor in only his third film after "Margin Call" and last year's superb "All is Lost" with Robert Redford, the intensity and excellent performances from an A-list cast make this dark crime thriller a worthy tale to be seen. The brooding New York vibe and low-life characters remind of Lumet's "Prince of the City" (interestingly made in 1981, the year in which this film is set) or "Before the Devil Knows You're Dead," his last film. The cast especially make this worth watching: Isaac and Chastain are both superb as the couple who experience some ongoing setbacks as they build their business; Chastain is especially memorable as the tough-talking wife who knows far more than she lets on. Watch for David Oyelowo (currently seen as Martin Luther King in "Selma") and a near-unrecognizable, gray-haired Albert Brooks in strong supporting turns. Chandor's script lacks the originality of his earlier films but the brooding, slow-burn intensity (the movie is peppered with several riveting scenes, including two involving an 18-wheeler) make up for it and may earn him another screenplay nomination. Chandor is becoming a filmmaker to watch, and "A Most Violent Year" is a well-constructed and well-acted ride of a movie that is worth your time.

Paddington - B+

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

Charming "Paddington" a gentle, whimsical look at finding your home

The amusing, well-made "Paddington" is the new British children's film based on the Paddington Bear children's book series, and adults and children alike should enjoy it immensely. The movie tells the story of the comic misadventures of a young Peruvian bear (voiced by Ben Whishaw) who travels to the city in search of a home. Finding himself lost and alone, he begins to realize that city life is not all he had imagined - until he meets the kindly Brown family (Hugh Bonneville and Sally Hawkins) who look after him though not without some challenges along the way. "Paddington" is a delightful children's movie directed by Paul King and co-written by King and Hamish McColl that's loosely based on the book series by Michael Bond (who makes a cameo in the film). Paddington is brought to life through special-effects: CG imagery and animatronics, something that made me a little hesitant to see it, after those dreadfully unfunny and U.S.-made "Garfield" and "Marmaduke" movies that, unlike "Paddington," were not pleasant experiences. U.S. filmmakers who wish to bring characters to life in this manner should look to the enjoyable, sprightly "Paddington" as a way to do this right: a whimsical, heartwarming tone that's more smiles than guffaws. It isn't perfect, though. Like most children's films, it feels the need to have a villain, though this time it is the lovely Oscar-winner Nicole Kidman, as an evil taxidermist who wants to get her hands (literally) on to our droll, lovable hero of a bear who just wants to find a home and a real family. On that note, you have a predictable sense of where the movie is going, but it's still an entertaining ride with its heartwarming messages firmly in place, with the lovely pairing of Bonneville and Hawkins as Paddington's new family. "Paddington" is touching, satisfyingly whimsical fun for the entire family. Worth a look.

Cake - C+

Rated R, 92 minutes
Wes's Grade: C+

Aniston's strong performance best part of the unsatisfying indie "Cake"

The best part about the downbeat, low-key new independent dramedy is Jennifer Aniston, who gives a restrained, convincing turn as a damaged woman struggling with some clear issues. While Aniston is quite good in a part that's clearly against type, it's also uneven, downbeat and hard to follow. The acerbic Claire Simmons (Aniston) becomes fascinated by the suicide of a woman (Anna Kendrick) in her chronic pain support group. As she uncovers the details of the suicide, she grapples with her own personal demons. Directed by Daniel Barnz ("Won't Back Down") and written by Patrick Tobin, "Cake" is a serviceable, downbeat redemption film highlighted by Aniston's dressed-down, often witty turn as a bruised, sarcastic woman who can't seem to come to terms with her own identity. The film is a mixed-bag, some of it works well, some of it doesn't. For one, it has a great cast. In addition to Aniston, the low-budget film has a strong suppoting cast, particularly Oscar nominee Adriana Barraza ("Babel") in a memorable turn as Claire's long-suffering maid and assistant, giving the film a stable voice of reason and upstaging Aniston in most scenes. Sam Worthington, Felicity Huffman, Anna Kendrick and in one well-staged scene, William Macy. Aniston is herself is quite affecting in a wholly unsympathetic part, popping pills, wearing no makeup, sporting a big scar and spouting her lines with some genuine saracasm ("you'll end up in porn, it's what happens to girls from Idaho," she tells a hitchhiker). Still, "Cake" is frustrating because it lacks a great script: its characters aren't fully drawn, and struggles with as many identity problems as its lead, alternating awkwardly between comedy and drama. This uneven, sluggish feel makes it a tough sell with perhaps a better fit would've been an HBO or Showtime mini-series, where it could've given Aniston more long-term exposure and accolades ala "True Detective." The mildly entertaining but unsatisfying "Cake" is so named as a metaphor for Aniston's character way of redemption, though it's not clear if she ever changes. A curiosity piece at best for Aniston, there are better things to do and better movies to see.

Blackhat - B

Rated R, 120 minutes
Wes's Grade: B

Flawed yet dark, intense "Blackhat" manages to thrill

The dark new crime thriller "Blackhat" from Michael Mann kicks off 2015 as the year of Chris Hemsworth, starring in the first of his four films this year. Intense and slightly overlong, "Blackhat" isn't perfect, but it is a solid, entertaining crime thriller that's a rarity in the cinematic dumping ground known as January: it's actually a decent film. American and Chinese agencies work together to capture a cyber criminal who seems unmotivated by politics or finance, as he seeks to cripple the international banking network. With the help of furloughed convict Nicholas Hathaway (Hemsworth), the authorities pursue the mysterious figure through Chicago, Los Angeles, Hong Kong, and Jakarta. Directed, co-written and produced by Mann, who helmed similarily dark thrillers in "Collateral," "Miami Vice" and "The Insider," it's a servicably powerful crime drama that delves into the world of cyber crime with a stellar supporting cast and a predictably bloody last act. The handsome Hemsworth carries the film nicely, though it could've benefited from a stronger actor (Colin Farrell, Russell Crowe and Christian Bale all come to mind); there are instances in which his American accent slips, making for occasional, minor distractions, though some won't mind the eye candy. He's well supported in a strong turn by Viola Davis as an American colleague (who has some of the film's best lines), and the lovely Chinese actress Tang Wei, Taiwan actor Wang Leehom, along with character actors Ritchie Coster and Manny Montana as the film's chief villains. The romance angle between Wei and Hemsorth's characters is well handled by Mann, though it too is a minor distraction that adds some calculations to the story. Mann is an excellent director, and it is his strong visual eye and his often tight close ups that save the film, adding some intensity to the story, even in the aforementioned weaker, more violent and predictable final act, which is well-staged but slightly contrived: a seemingly unknown cyber criminal who somehow wants to come out of the dark. Stout and squirrelly, the intense, criminally entertaining "Blackhat" makes for a good escape on a cold winter's night.

Why the Academy got it wrong this year...

Here's is the full list of Oscar nominations this year:

http://oscar.go.com/nominees

There are snubs and surprises every year, though this year in particular there were egregious snubs and some troubling signs that the Academy just didn't get it right this year. Granted, 2014 was an underwhelming year at the movies, and this showed in the fact there are only 8 nominees for Best Picture instead of 9 or 10. I'm not complaining too much. There were some pleasant surprises and some good films nominated, but this year shows some troubling signs from the Academy.

Among them:

1. Lack of diversity. For the first time since 1998, there are no acting candidates of any color but white. David Oyelowo, who played Martin Luther King in the powerful "Selma," which was tragically overlooked with only 2 nominations (song and picture), was seemingly a shoo-in for a nomination until it was taken by Bradley Cooper in Clint Eastwood's "American Sniper," a solid and true-story film that benefited from a marketing campaign and incessant TV ads. Oyelowo was my top choice for actor this year, even over Michael Keaton's fine (though showy) turn in "Birdman."

In addition, there are no female candidates in the screenplay categories, and the directing category, which just a month ago was buzzing about having the possibility of not just one, but two women in the category - Angelina Jolie and Ana Du Vernay (who would've been the first African-American female nominee in the category), but now all of them are white men, which makes up most of the Academy members. Jolie's "Unbroken" in particular had lost some ground, but DuVernay seemedpoised to make the final cut until it became obvious on Thursday morning that it was being shut out.

2. Lack of creativity. I'm super excited that "The Lego Movie" was nominated for Best Song for the infectious "Everything is Awesome," which still rings in my head everytime I think of the movie, nearly a year later, but its snub from the Animated Film category was the most egregious and shocking of the whole day. It was a lock in this category not only for a nomination, but for the win. I can only think that it's release date way back in February 2014 did more harm than good for it. Some may have just forgot about it.

The second most shocking snub was overlooking the Roger Ebert documentary "Life Itself," one of my top film choices for the year - a fascinating, touching and very emotional tribute to the film critic who set the standard for the rest of us. At least his widow Chazz handled it very well. A classy lady in the midst of disappointment.

3. Lack of commercialism. In 2009 the Academy expanded the list of Best Picture nominees to give more opportunities to films that some of the general public have seen in hopes of increasing ratings and providing a better show. This year's list of nominees, while all fine films, are the lowest grossing bunch since they expanded it, though Eastwood's "American Sniper" is expanding to wide release this weekend and should easily be the top grosser of the list. But we're basically back to a list of films the general public hasn't seen, and if there are cries of white elitism from this year's awards, I can see how it'd be justified.

4. Ho-hum leader board. This year, the front-runner for Best Picture, Director, and several other major categories is a good film from Richard Linklater called "Boyhood." It's a fine film that has been wowing critics (except for maybe this one) since Sundance, but I will tell you, if it wins, it'll be the most underwhelming film to win Best Picture in years. It's good, but the Academy and other groups honoring it are honoring the 12-year effort that Linklater took to make it, rather than the solid, but not superb, end effort. It could suffer a mild backlash, but at the moment it seems to be picking up steam; it was in my top 10 list, but at around 9 or 10. I would take any of the other films nominated as Best Picture. Here's how I would vote if I were an Academy member, but this is just me:

               1. Whiplash
               2.  Selma
               3.  The Grand Budapest Hotel
               4.  Birdman
               5.  The Imitation Game
               6.  The Theory of Everything
               7.  American Sniper
               8.  Boyhood

"Boyhood" is not a terrible film by any means. It may even deserve a writing or editing award. But NOT Best Picture (and while I personally like Ethan Hawke and Patricia Arquette, I find their nominations dubious here, just saying). As a matter of speaking, I'd actually put "Boyhood" at number 12, after "Gone Girl" (which should've been nominated) and "Foxcatcher" neither of which scored a Best Pic nom and one of my personal favorite films of last year, "Snowpiercer."

Academy, I have a lot to say about this year's awards, because you just got it wrong. A J.K. Simmons win for "Whiplash" in the Supporting Actor category is the best thing about this year, but otherwise, we will look back on 2014 and think, "Boyhood" for Best Picture, really? No people of color? No women, really? Hoping that next year the Academy (not to mention movies themselves) get back on track for a much better year.

Anyway, I'm done for now. Maybe I'm done, maybe not. But I'm still disappointed.

Spare Parts - B-

Rated PG-13, 113 minutes
Wes's Grade: B-

Uplifting and very familiar, "Spare Parts" still makes you feel good

Most easily described, "Spare Parts" is "Stand and Deliver" crossed with underwater robots. On that note, the mildly engaging movie seemingly uses spare parts of other feel-good movies, but it has enough heart to still entertain. The movie is based on a true story about four undocumented Hispanic high school students (Carlos PeanVega, Jose Julian, David Del Rio and Oscar Gutierrez) in Arizona who form a robotics club under the leadership of their school's newest teacher, Fredi (George Lopez). With no experience, $800, used car parts and a dream, this rag tag team goes up against the country's reigning robotics champion, MIT. On their journey, they learn not only how to build a robot- they learn to build a bond that will last a lifetime. Directed by Sean McNamara ("Soul Surfer"), co-produced by Lopez and based on an article called "La Vida Robot" by Wired magazine's Joshua Davis that details the events in 2004, the predictable"Spare Parts" is a movie you've seen many times before, and each time it seems to inspire in spite of the mountain of underdog cliches it seems to throw at the screen. The good thing is that Lopez is a tad more restrained here as their teacher, and he's well-supported by Oscar-winner Marisa Tomei (obviously slumming it here) and Jamie Lee Curtis, stealing scenes and mugging as the supportive principal. The story, while affecting, has little substance and some of it played for misplaced laughs or cliches, but "Spare Parts" is still uplifting (the fascinating underwater robotics scenes are actually the best part of the movie), and like the many movies that have come before it, show that you can still succeed in spite of challenges faced. The immigration angle, which is a hot topic these days politically, isn't as overbearing as you might think, given that the four guys were all undocumented at the time of the story, some of which was altered for the screen (the high school, Carl Hayden High, is a real, award-winning magnet school in Phoenix made to look much rougher here, and Lopez's character is actually based not on one, but two teachers). Stay over for the credits to get the lowdown - updates and photographs - on the real students and teachers who were the basis of the story, who deserve a better assembled movie than this. Predictable yet likable, "Spare Parts" could've been better, but it'll do.

Still Alice - B+

Rated PG-13, 99 minutes

Alec Baldwin and Julianne Moore

Wes's Grade: B+

Moore's unforgettable performance the highlight of the pensive "Still Alice"

If you've ever had a loved one with Alzheimer's knows what a challenge it may be. That is the premise of the heartbreaking, superbly-acted drama "Still Alice," with an unforgettable, tour-de-force turn from Julianne Moore that's almost certain to win her an Oscar, which would be deserved. Alice Howland (Moore), happily married to John (Alec Baldwin) with three grown children (Kristen Stewart, Kate Bosworth and Hunter Parrish), is a renowned linguistics professor who starts to forget words. When she receives a diagnosis of Early-Onset Alzheimer's Disease, Alice and her family find their bonds thoroughly tested. Her struggle to stay connected to who she once was is frightening, heartbreaking, and inspiring. Co-directed and written by Richard Glatzer and Wash Westmoreland ("Quinceanera") and based on Lisa Genova's best-selling 2007 novel of the same name, the pensive but warm, compassionate tone of the film keep it from being as depressing as you might think it would be. A memorable, often slow character study, it's filled with many subtle, powerful moments, made possible by the excellent, Oscar-worthy turn from Moore in a studied, textured role that's one of her best and one of the year's best. The slow progression of the film isn't all too surprising and even expected, and on that note "Still Alice" isn't all surprising, but it's still an honest, unflinching portrayal; Moore's convincing turn is to be seen, but she's well-supported by Baldwin as her loving husband and especially Stewart, the daughter assigned to help take care of her as Alice begins to get worse. There are a handful of unforgettable moments, including her heartbreaking speech mid-film, along with some nice, touching moments with Stewart, and they make for a solid pairing. "Still Alice" and Moore will stay with you long after the credits over. Expect to see Moore in the winner's circle (many times) for her unforgettable, shattering performance.

Oscar Nominations

The nominations for the 87th Annual Academy Awards (Oscars) are in!
Here's the full list of nominations:

http://oscar.go.com/nominees

My commentary is forthcoming...lots of good surprises (Laura Dern) and some not (no Life Itself or Lego Movie).

American Sniper - B



Bradley Cooper

Rated R, 134 minutes
Wes's Grade: B

Intense battle scenes, strong performances lift “American Sniper” from being typical war movie

“American Sniper” is not your typical war movie, but then Chris Kyle, also a native Texan, was not your typical Navy Seal. The movie is about U.S. Navy Seal sniper Chris Kyle (Bradley Cooper, in a strong performance and who also co-produced), the most lethal sniper in U.S. military history. Remarkably, as much as he experienced on his tours, his life ended tragically at home. Stirring, intense and well-acted, “American Sniper” is most memorable for its skillful battle scenes and poignant performances, though it’s not a revelatory look at military life. Kyle is sent to Iraq with only one mission: to protect his brothers-in-arms, though as with many in the military, he struggles to find career-family balance. His pinpoint accuracy saves countless lives on the battlefield and, as stories of his courageous exploits spread, he earns the nickname "Legend." Directed with skill and care for the material by Oscar-winner Eastwood and featuring a first-rate performance from Cooper as Kyle, “American Sniper” is powerful, moving and filled with a vigor that would’ve likely pleased Kyle himself. Based on Kyle’s autobiography of the same name, it’s a worthy but tragic story of a true American hero who saved many lives but was unfortunately gunned down by a fellow but troubled veteran he was trying to help (and fortunately, and perhaps for Kyle’s family, Eastwood doesn’t show it). The fact that Kyle was such a prolific sniper sets this apart from the usual military story, even if it’s really only a surface-level look at military life – and if you’re aware of Kyle’s story – you’re already very aware of what will happen later in his life, though Eastwood handles it with obvious affection for his subject. Written by Jason Dean Hall and photographed by Eastwood’s usual cinematographer Tom Stern, the violent, stirring battle scenes are far more engaging than the family story, which seems to be only skimmed over, however Sienna Miller is also strong as Kyle’s wife Taya, who shared in his many struggles to adjust to family life and being a husband and dad rather than the “Legend” he was known in military circles. Cooper continues to grow as an actor, and his bulky metamorphosis as Kyle (he added 30 pounds) is a very believable one, which is unfortunate given the many other strong performances at this year’s end. Eastwood could’ve deeply explored more angles, particularly some of Kyle’s psychological issues, but overall the satisfying “American Sniper” is a gripping and affecting portrait of someone who honorably served his family and country. And have tissues handy for the end credits scenes. Certainly worth a look.

The Wedding Ringer - D

Rated R, 101 minutes

Josh Gad and Kevin Hart

Wes's Grade: D

Moviegoers should annul the likable but incredibly dumb "The Wedding Ringer"

Well at least the last line is hilarious. As for the rest of the mostly incoherent and dirty comedy "The Wedding Ringer," it's largely forgettable. It's one of those obvious rentals in which you see most of the funny stuff - all 2 minutes of it - in the trailers. Jimmy (Kevin Hart) provides best man services for socially challenged guys, who - for whatever reason - have no one close enough to agree to stand by them on the day of their wedding. Doug (Josh Gad) a groom-to-be, has found himself in just such a situation and seeks out Jimmy's services to carry out a charade designed to make Doug look his best, but threatens to destroy everything if it fails. Directed and co-written by Jeremy Garelick and produced by Will Packer, whose been a part of most of Hart's comedies of late, "The Wedding Ringer" is an unfunny, dirty attempt at yet another odd-ball pairing - this time the awkward Jewish guy and the loudmouth African-American guy - and while the leads are charming - about 90% of it falls flat under silly, contrived situations and cardboard caricatures that make absolutely no sense. It also wastes a bevy of decent, talented actors, including Kaley Cuoco-Sweeting, Ken Howard, Mimi Rogers, the lovely Olivia Thirlby and the wisecracking character actress Jenifer Lewis, who's good for a minute or two as the voice of reason (and as for you Cloris Leachman, you should know better than to take a paycheck like this). Though the uber-annoying Hart isn't all to blame here, it's mostly the awful script, which fills it many unnecessary and unfunny stretches of filler, including many awkward party scenes and that painfully bad bachelor party scene, which Gad (who will always be Olaf to me from "Frozen"), should be embarrassed by, until it reaches the predictable, stale ending. Jorge Garcia, Hurley from "Lost," is one of the paid groomsmen here, and he's given little to except utter the film's final and funniest line, which "Lost" enthusiasts will get a kick out of. People spend loads of money on weddings, a fleeting, if not memorable affair for everyone involved. "The Wedding Ringer," while filled with a couple of good moments, is not a memorable affair, but a crowd-pleasing mess of a comedy that should make loads of money for its producers. Don't waste your money on it.

My Oscar Nominations Predictions

The nominees for the 87th Academy Awards (Oscars) will be announced this Thursday, January 15th at 7:30 am CST in advance of the big show on February 22nd on ABC-TV.

Here are my predictions for the top 6 awards. I forsee this year's Oscars being dominated by several films, including Birdman, Boyhood, The Imitation Game, Selma and The Theory of Everything.

Best Picture:
Boyhood, Birdman, The Grand Budapest Hotel, Selma, The Imitation Game, The Theory of Everything, Whiplash, Gone Girl, Foxcatcher and American Sniper

Unbroken, Nightcrawler and Interstellar also have all good chances, but these films have been overlooked lately in several major awards, I see them only picking up a few noms in some of the tech categories.

Best Director:
Richard Linklater, Boyhood
Alejandro Gonzalez Innaritu, Birdman
Ana DuVernay, Selma
David Fincher, Gone Girl
Wes Anderson, The Grand Budapest Hotel

Morten Tyldum for The Imitation Game, Clint Eastwood for American Sniper and Damien Chazelle for Whiplash are all strong possibilities but Anderson and his film have picked up considerable momentum lately, so I expect him to take the final slot.

Best Actor:
Michael Keaton, Birdman
Eddie Redmayne, The Theory of Everything
Benedict Cumberbatch, The Imitation Game
David Oyelowo, Selma
Jake Gyllenhaal, Nightcrawler

The first four all easily make the cut. For the fifth slot, I could easily interchange Gyllenhaal for Steve Carrell in Foxcatcher, but for now going with Gyllenhaal, who has had stronger momentum going into awards season. Bradley Cooper for American Sniper and Timothy Spall for Mr. Turner also have small chances, but since their films haven't generated much buzz lately I'm sticking with Gyllenhaal.

Best Actress:
Julianne Moore, Still Alice
Reese Witherspoon, Wild
Rosamund Pike, Gone Girl
Felicity Jones, The Theory of Everything
Jennifer Aniston, Cake

Much like Best Actor, the first four should all easily make it in, with the fifth slot going to either Aniston for Cake (it's hard to believe I'd ever see Aniston here, but good for her) who has been heavily promoting her film, or to Golden Globe winner and multiple Oscar nominee Amy Adams, who has been racking up Oscar noms (but no wins yet) in Streep-like fashion.

Best Supporting Actor:
J.K. Simmons, Whiplash
Edward Norton, Birdman
Ethan Hawke, Boyhood
Mark Ruffalo, Foxcatcher
Robert Duvall, The Judge

This award really belongs to Simmons' ferocious bully teacher role, but Norton, Hawke and Ruffalo were all strong as well. The fifth slot should go to veteran Duvall, who was good in the otherwise weak, overlong The Judge, but I'd rather see it go to Tom Wilkinson, who was brilliantly memorable as LBJ in Selma.

Best Supporting Actress:
Patricia Arquette, Boyhood
Emma Stone, Birdman
Keira Knightley, The Imitation Game
Meryl Streep, Into the Woods
Jessica Chastain, A Most Violent Year

Arquette, Stone and Knightley are all in easily. Streep gets in too, and while she always seems to snag a nom, she was admittedly the best part about Into the Woods. I'd prefer to see Laura Dern's hippy chick mom in "Wild" or Rene Russo's ambitious news director from "Nightcrawler" in the top 5, but I'm good with Chastain, who was very good in A Most Violent Year, which sees wide release in late January.

As for the rest:

Birdman, Boyhood, The Imitation Game, Selma, Foxcatcher, Theory, Whiplash and Grand Budapest should all score multiple noms in Screenplay, Score, Cinematography and Editing categories, along with Unbroken and Interstellar.

Taken 3 - D

Liam Neeson

Rated PG-13, 93 minutes
Wes's Grade: D

Fast-paced but preposterous and sluggish "Taken 3" isn't worth the ride this time

"Taken 3" is the "Taken" movie where no one is taken. Doesn't make sense to me, either, in the predictable, incoherent mess that is "Taken 3," supposedly the final chapter in this mediocre action franchise. Liam Neeson and his special skill set are the only reason to see this sluggishly preposterous thriller, which may be enough for Neeson's fan base. Ex-covert operative Bryan Mills' (Neeson) reconciliation with his ex-wife (Famke Janssen) is tragically cut short when she is brutally murdered and he is framed for the crime. He goes on the run to evade the relentless pursuit of the CIA, FBI and the police (led by Forest Whitaker, utterly wasted here in a throwaway role). For one last time, Mills must use his "particular set of skills," to track down the real killers, clear his name and protect the only thing that matters to him now - his daughter (Maggie Grace). Let's hope this thing ends after the fast-paced but ridiculously predictable "Taken 3" in which no one is taken, just chased and shot at endlessly. Directed by Oliver Megaton, who directed "Taken 2," and co-written and produced by acclaimed filmmaker Luc Besson (of the recent "Lucy"), if you thought the first two "Taken" movies were far-fetched, this one is so over-the-top it makes those look like a documentary: Bryan Mills and his special skill set are in need of a more substantive story and character development, of which this is sorely lacking. Admittedly, Mills and his skills are fun to watch, though by now it gets tiresome and the novelty of it has worn itself out since the first film, with writer Besson now content with having Mills escape some pretty far-out car crashes and other situations, and if you think he won't actually get the bad guys in the end, then you must be crazy. Other than the awful script and lackluster plotting (and the fact they kill off the lovely Janssen, by far one of the prettiest things about these movies), the scariest thing about "Taken 3" is that bowl haircut that the villain (TV character actor Leland Orser) sports, which is just painful to look at. Also, the whole premise - the lack of someone being taken - really makes "Taken 3" a wasted, largely unnecessary effort. A handful of decent action scenes, but otherwise skip this one as the January dumping ground for movies continues.

Inherent Vice - B-

Rated R, 148 minutes

Reese Witherspoon and Joaquin Phoenix

Wes's Grade: B-

Overlong but intriguing, "Inherent Vice" is inherently and colorfully entertaining

From the director of such unconventional but well-acted fare such as "The Master" and "There Will Be Blood" comes the unconventional but colorfully entertaining and overlong, flawed crime tale "Inherent Vice." Private eye Doc Sportello's (Joaquin Phoenix) investigates the disappearance of the billionaire boyfriend of ex-flame Shasta Fay Hepworth (Katherine Waterston), taking into a dark, psychedelic tale of drugs and mayhem that even he finds hard to fathom. Directed, produced and written by acclaimed director Paul Thomas Anderson and based on Thomas Pynchon's seedy 2009 novel of the same name, "Inherent Vice" is a dark, well-acted dramedy about the underbelly of drugs, crime and free love circa 1970's California. It's not one of Anderson's stronger efforts, but it's certainly watchable, even if it may stretch the limits of your theater seat. "Vice" plays to some of Anderson's strengths: an eclectic, talented cast (also including Reese Witherspoon, Owen Wilson, Benicio Del Toro and a coke-snorting Martin Short, among many others) who perform well against the dark and intriguing but rambling narrative. Even more so, it plays to Anderson's weaknesses as a filmmaker: it's self-indulgent, too long and too odd, making for his least accessible film to date. The slow second act doesn't help it, either, even if it's well-grounded by another unusual Phoenix turn (he makes for a great stoner), though he's upstaged by two others in the large cast: Josh Brolin, who clearly has fun as the tough-talking detective who makes life difficult for Doc, and in a small role, Waterston, as his lovely but troubled hippy ex-girlfriend who needs his help. Waterston, of "Boardwalk Empire" fame and actor Sam Waterston's daughter, is smart and beautiful in a breakout role, and the camera clearly loves her (not to mention you get to see every inch her in one mildly shocking sex scene), reminding of an early Kate Hudson.  The hip and jazzy score by Radiohead's Jonny Greenwood adds some nice texture to the movie and its dark photography from Robert Elswit, who worked with Anderson on "Blood," is perfectly suited to its tone. "Inherent Vice" is essentially a darker, more drug-fueled attempt at a "Big Lebowski" type story, and while it's hit-or-miss (you'll look at your watch more than once), it's still worth seeing, especially for Anderson fans, though this type of thing may worked better as an HBO or Netflix series. "Inherent Vice" isn't on the same level of greatness as "There Will Be Blood" or "The Master" and is a film whose parts are better than its sum total.

Selma - A

Rated R, 122 minutes
Wes's Grade: A

Stirring, riveting Civil Rights drama "Selma" one of the year's best

The compelling Civil Rights drama "Selma" co-produced by Brad Pitt and Oprah Winfrey (who also appears in a supporting role) is a moving, unshakeable portrait of what it took to gain the right for all to vote in the United States. More than just a sweeping history lesson and literally starting off with a bang in the film's first few frames (and it comes quite unexpectedly, you'll be jolted), the superbly acted "Selma" is also a stirring reminder that many made sacrifices for others. The film chronicles the tumultuous three-month period in 1965, when Dr. Martin Luther King, Jr. (David Oyelowo) led a dangerous campaign to secure equal voting rights in the face of violent opposition. The epic march from Selma, Alabama to Alabama's capital, Montgomery, culminated in President Johnson (Tom Wilkinson) signing the Voting Rights Act of 1965, one of the most significant victories for the civil rights movement. Masterfully directed by Ana DuVernay and written by Paul Webb, "Selma" is a fascinating, powerful behind-the-scenes look at the Civil Rights Movement in the South. DuVernay is part emotional history lesson and part insightful character study, though it leans toward the former instead of the latter, but all of it is rounded by excellent performances. The large cast is led by Oyelowo's sublimely pitch-perfect, impassioned performance as King, one of the strongest performances this year and one that's sure to garner him an Oscar nomination. Of the varied, strong supporting cast Wilkinson and Roth are most memorable, as LBJ and George Wallace, respectively, while Oprah herself gets in a few good scenes as Annie Lee Cooper, the woman who wasn't afraid to deck Selma's racist sheriff. There are a handful of gripping scenes that DuVernay skillfully handles, including the showdown at the Selma courthouse and the Bloody Sunday crossing of the Pettus Bridge in Montgomery, which is both stunning and electrifying; "Selma" doesn't shy away from the violence of the day, and while difficult to watch, provides help in understanding the movement. However, "Selma's" most moving scene is an intimate scene involving King and the father of a murdered protestor that will leave you considerably moved. As a character study, it doesn't shed much light into the complexity of King the man; we see some of his flaws and imperfections though the movie doesn't expound on them; the film is content with weaving King's personal story into the larger one at hand, and for what it is, works fine. Energetically scored by jazz musician Jason Moran and handsomely photographed by Bradford Young, it perfectly conveys the mood and the sights and sounds of the time frame. Uplifting, riveting and expertly crafted, the deeply satisfying "Selma" is a must-see and is one of the best films of the year.

Predestination - B-

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

Entertainingly crazy "Predestination" is sci-fi wonkiness at its best

Time travel has always been the ultimate paradox, a riddle without an answer that movie makers have been trying to conquer for, well, ages. Australian filmmakers and identical twin brothers Michael and Peter Spierig ("Daybreakers") attempt to go there once more in the twisted but enjoyable sci-fi thriller "Predestination," currently in limited release. The movie chronicles the life of a Temporal Agent (Ethan Hawke) sent on an intricate series of time-travel journeys designed to prevent future killers from committing their crimes. Now, on his final assignment, the Agent must stop the one criminal (Sarah Snook) that has eluded him throughout time and prevent a devastating attack in which thousands of lives will be lost. Co-directed, produced and written by the Spierig brothers and based on a 1958 short story called "All You Zombies" by Robert Heinlein, the science-fiction film is well-acted and occasionally moving, though the confusing, often weird script is a little all over the map in the final act. Hawke is solid as the time-traveling agent with a highly unusual mission, though it's unknown Australian actress Snook who is so convincing and even touching in a gender-bending, mind-bending breakout performance that she is the movie's most memorable character (honestly, she looks like a young DiCaprio and sounds like Jodie Foster). The stable, focused first act of "Predestination" is best before the narrative goes a little awry under a multitude of wonky plot twists that I can't even begin to explain, except to say that remarkably, through the craziness of it all, it was an enjoyable, if not exhausting, experience. The visuals are decent yet seemingly low-rent (the time travel contraption is basically an old violin case with a briefcase lock), but good enough not to overwhelm the senses. Trying to figure out the story is enough for a brainfreeze for anyone who views the strange but strangely entertaining "Predestination, a movie that sci-fi and time-travel enthusiasts will get a kick out of. If you don't belong in either of those categories, stick with something a little more straightforward, which is just about any other movie in current release.

North Texas Film Critics 2014 Award Winners Announced

NORTH TEXAS FILM CRITICS ASSOCIATION NAME “BOYHOOD” BEST PICTURE OF 2014

The North Texas Film Critics Association is proud to announce their Best of 2014 and winners in eleven categories. The association was founded in 2005 and consists of a group of twelve film critics who write or broadcast in the North Texas area.

The North Texas Film Critics Association voted the coming-of-age drama BOYHOOD as the best film of 2014, according to the results of its annual critics’ poll which was released today.

The finalized list of the top 10 films of the year were WHIPLASH (2), THE GRAND BUDAPEST HOTEL (3), BIRDMAN (4), THE IMITATION GAME (5), GONE GIRL (6), THE THEORY OF EVERYTHING (7), NIGHTCRAWLER (8), CHEF (9) and INTERSTELLAR (10).

Jake Gyllenhaal was voted Best Actor for NIGHTCRAWLER. Runners-up included Eddie Redmayne for THE THEORY OF EVERYTHING (2), Benedict Cumberbatch for THE IMITATION GAME (3), Michael Keaton for BIRDMAN (4) and David Oyelowo for SELMA (5).

For Best Actress, Rosamund Pike was the winner for GONE GIRL. Runners-up included Reese Witherspoon for WILD (2), Felicity Jones for THE THEORY OF EVERYTHING (3),  Amy Adams for BIG EYES (4) and Julianne Moore for STILL ALICE (5).

In the Best Supporting Actor category, the winner was J.K. Simmons for WHIPLASH. He was followed by Edward Norton for BIRDMAN (2), Ethan Hawke for BOYHOOD (3), Mark Ruffalo for FOXCATCHER (4) and Tom Wilkinson for SELMA (5).

In the Best Supporting Actress category, the winner was Patricia Arquette for BOYHOOD. Runners-up were Emma Stone for BIRDMAN (2), Keira Knightley for THE IMITATION GAME (3), Jessica Chastain for A MOST VIOLENT YEAR (4) and Tilda Swinton for SNOWPIERCER (5).