Kill the Messenger - C+

Rated R, 112 minutes
Wes's Grade: C+

Jeremy Renner

Solid cast, story can't save the unsatisfying, uneven "Kill the Messenger"

The well-acted, uneven new thriller "Kill the Messenger" doesn't do the story of late journalist Gary Webb true justice. The first half is a fascinating look at how Webb wrote his stories uncovering government corruption, then seems to peter out on a downbeat note by the end of the movie. The film takes place in the mid 1990s, when acclaimed journalist Gary Webb (Oscar-nominee Jeremy Renner) uncovered the CIA's past role in importing huge amounts of cocaine into the U.S. that was aggressively sold in ghettos across the Country to raise money for the Nicaraguan Contras rebel army. Despite enormous pressure not to, Webb chose to pursue the story and went public with  it. As a result he experienced a vicious smear campaign fueled by the CIA and he found himself defending his integrity, his family, and his life. Directed by TV director Michael Cuesta and written by Peter Landesman, based on Webb's own "Dark Alliance" book and Nick Schou's novel of the same name, the serviceable "Kill the Messenger" has a great cast and an interesting story worthy to be told, but it falters down the stretch in giving a well-rounded look at Webb's story. The first half is particularly intriguing, even inspiring as it examines how Webb wrote his stories and the impact they had, but it somehow disappoints in the last act as it veers off toward Webb's personal life, which held little relevance on the situation as a whole. As the award-winning investigative journalist who uncovers a vital story to the U.S., Renner gives a sturdy, even clever performance as Webb that holds the film through its weaker moments in its last act. Problematic is the use of some solid characters in cameos; it amounts little more than stunt casting to see the likes of Andy Garcia, Michael Sheen, Robert Patrick, Paz Vega, Richard Schiff and Ray Liotta in blink-or-you-miss-it turns, and their presence seems more of a distraction than anything. Mary Elizabeth Winstead, Oliver Platt and Rosemarie DeWitt, however, are all solid in more substantial roles as his newspaper colleagues and wife, respectively. Unfortunately, all of it seems to run out of steam by the end, and the coda is particularly a downbeat one if you know anything about Webb's life (he committed suicide, which is alluded to in the film), all particularly sad given the contributions he made.  "Kill the Messenger" is a well-acted, modest film about a modest journalist who made some worthy contributions, but ultimately the story lacks power and seems an after thought. Worth a look if you like Renner, but you may be better off reading Webb's "Dark Alliance" book for yourself.

Good People - C-

Rated R, 90 minutes
Wes's Grade: C-

Crime thriller "Good People" lacks credibility, good script

If you discovered a duffle bag full of cash, what would you do? Many might turn it in to the authorities, some may keep and spend it on themselves, while others may hide it somewhere. That's the premise of the derivative, modestly entertaining crime thriller "Good People,"which lacks a believable story and plot in spite of its blandly appealing leads. Discovering a cache of cash in their dead tenant's apt, an American couple in debt (Kate Hudson and James Franco) take the money and find themselves the target of a deadly adversary-the thief (Omar Sy) who stole it and the suspicion of the local police (Tom Wilkinson). Directed by Danish film director Henrik Ruben Genz and written by Kelly Masterson, who wrote a superior crime thriller "Before the Devil Knows You're Dead" and the recent "Snowpiercer," "Good People" is a thoughtless, often dumb thriller in which normal people do dumb things like take a criminal's stolen cash and expect no one to find out. On that note, the most interesting character in the film isn't the bland "good people" of the title, but the bad guy, played with an evil gloss by French actor Omar Sy, best known for his role in the 2011 French hit "The Intouchables" as well as the corrupt police officer with a heart, played by an underused, always fine acclaimed British actor Wilkinson. Hudson and Franco are always likable, but the script lacks insight into their characters and while they're sympathetic, they're also not the brightest people around. As old saying goes, you should take the money and run, as long as its legit. "Good People," to its credit, moves quick and ends rather predictably, but there's not much else good about it. Skip it.

Left Behind - D-

Rated PG-13, 110 minutes
Wes's Grade: D-

Shoddy, cheesy "Left Behind" won't make you a believer

When you make a nearly 15-year old straight-to-video movie starring Kirk Cameron look like a masterpiece, you know you're in trouble. The new end times drama "Left Behind" manages to do just that, and is one big cheese ball, with the worst production values and acting I've seen onscreen this year. As a Christian myself, I'm embarrassed for my fellow believers, but mostly embarrassed for Oscar-winner Nicolas Cage, whose career has sunk to a new low with this piece of crap. Without warning, millions of people around the globe simply vanish in the Biblical event called "the Rapture". This causes vehicles to crash, rioting and looting. Airline pilot Rayford Steele (Cage) tries to deal with his hysterical passengers. He also has to try to land his plane when airports are filled with wrecks, as he wonders about his family. Journalist Buck Williams (Chad Michael Murray) struggles to understand this devastating event. Ray's daughter, Chloe (Cassie Thompson), struggles to find her mother and brother. Directed by noted British director Vic Armstrong and co-written by Paul LaLonde and John Patus and based on the popular Tim LaHaye and Jerry Jenkins novels, this shoddy, ham-fisted "Left Behind" won't gain any new followers, which is unfortunate, but it's so bad it's hard to sit through without laughing unintentionally. It seems most of the budget went to Cage's salary, since most of it takes place on a third-rate plane set that shakes periodically, and people running through the streets. According to the film, apparently the Christians were also the smartest group, since it takes an eternity for those left behind to actually figure things out. It would've at least been more fun if Cage, who can overact with the best of them, would've done some scenery chewing or stomping around as he likes to do, instead (and quite remarkably), he sleepwalks through the film, making "Left Behind" not only cheesy bad, just unwatchable and boring bad. The aforementioned 2000 Kirk Cameron film of the same name was a bad movie too, but it looks like a Best Picture winner compared to this cheeseball, which also features Lea Thompson and "American Idol" winner Jordin Sparks. My advice to my fellow Christians who want to tell others about the end times is: don't make them see the awful "Left Behind." Talk to them, take them to coffee - just anything but see this movie - which is one of the worst movies of 2014 and should easily take home a few Razzie Awards.

Gone Girl - B+

Rated R, 150 minutes
Wes's Grade: B+

Masterfully executed, tense "Gone Girl" a must-see

Well, I still hated the ending. Gillian Flynn's best-selling novel "Gone Girl" was an intense and engaging crime drama with a frustrating ending, and the movie is a faithful adaptation: intense and engaging with a frustrating ending. Superbly executedand well-acted with alternating moments of dark humor and disturbing intensity, "Gone Girl" is one of the year's best dramas and a must-see for devotees of the novel. On the occasion of his fifth wedding anniversary, Nick Dunne (Ben Affleck) reports that his beautiful wife, Amy (Rosamund Pike), has gone missing. Under pressure from the police and a growing media frenzy, Nick's portrait of a blissful union begins to crumble. Soon his lies, deceits and strange behavior have everyone asking the same dark question: Did Nick Dunne kill his wife? Directed by acclaimed director David Fincher from "The Social Network" and "Seven" fame, "Gone Girl" finds Fincher in his perfect element: a unique, masterful blend of crime, psychological drama and people doing bad things. In other words, it's pretty jacked up stuff for sure but so entertaining you won't be able to turn away. The stellar production values don't disappoint, with the flawless sets and photography, not to mention the well-placed, moody-jazzy score from Fincher's go-to music guys, Oscar-winners (from "The Social Network") Trent Reznor and Atticus Ross. Affleck is solid as the imperfect, somewhat clueless husband, who is generally a step behind his cunningly smart, devious wife Amy, in a most stunning, Oscar-worthy turn from British character actress Rosamund Pike, who you've seen many times before and just didn't know it (often alongside Simon Pegg in his comedies); one bloody good scene involving her character and another is so shocking and disturbing it'll leave you breathless. "Gone Girl" also benefits from a strong supporting cast, including Neil Patrick Harris, Tyler Perry (yes, that Tyler Perry), Sela Ward, Patrick Fugit, and especially two standouts, Carrie Coon as Nick long-suffering twin sister and Kim Dickens as the tough detective with the Southern drawl, both of whom deserve Oscar nominations for their affecting, memorable  supporting performances. "Gone Girl" isn't perfect: it's a little too long and it works better as an unhinged psychological portrayal than a crime drama, out of which comes the very divisive, frustrating ending that is unchanged (despite what you've heard) from the book. From a psychological standpoint, it works perfectly, but the "Law & Order" in you will want more resolution; I'm ultimately disappointed that Flynn (who wrote the screenplay from her book) didn't change it more. In spite of its flaws, the vastly entertaining "Gone Girl" is still richly satisfying, masterfully executed and diatrurbing though much like relationships (and perhaps marriage itself), you may remain devoted to it in spite (and maybe because of) your partner's flaws. Definitely worth a look.

Annabelle - C-

Rated R, 98 minutes
Wes's Grade: C

Just when you thought it was safe to collect dolls again comes the new horror film "Annabelle," the prequel to the hit 2013 horror film "The Conjuring." Uneven, slow and lacking the chills of its its predecessor, ""Annabelle" doesn't really get going until very late in the film. John Gordon (Ward Horton) has found the perfect gift for both his pregnant wife Mia (Annabelle Wallis) —Annabelle, a beautiful and rare vintage doll in a pure white wedding dress. Unfortunately, the family's delight with the doll is short-lived as it acts as a sinister conduit to the damned that is now Annabelle, seeking the couple's newborn daughter Leah as a sacrifice. Directed by John R. Leonetti, cinematographer for "The Conjuring," and written by Gary Dauberman, "Annabelle" is a weak efforts that's often as lifeless as the doll itself. It's peppered with a handful of tense moments, mainly in the last act, but it lacks the scares and the intensity of the James Wan-directed film (Wan produces here). The film is a fictional story, though the doll itself is indeed real and is owned by Ed and Lorraine Warren, who were the basis for "The Conjuring," though this film doesn't do them or the doll itself, which supposedly does harbor some evil elements, true justice. The producers of the film must've also spent considerable time finding an actress really named Annabelle (the lovely British actress Annabelle Wallis) to play the lead, in and of itself a fact creepier than the film itself. The first half is stuffed with a talky backstory and stale family drama, and doesn't really provide any true thrills until the final few minutes, and it wastes a decent, award-winning actress in Alfre Woodard. Do yourself a favor, stay away from creepy dolls, and stay away from the silly, boring "Annabelle" and rent "The Conjuring" instead.

The Good Lie - B

Rated PG-13, 108 minutes
Wes's Grade: B

Reese Witherspoon

"The Good Lie" is a fact-based drama about the Lost Boys of Sudan, who immigrated to the U.S. after being orphaned during their country's brutal civil war from 1983-2005. Heartfelt and well-acted, "The Good Lie" isn't an emotional powerhouse and it falters somewhat down the stretch, but overall it's an effective portrait of those who had to start over in a new country. Sudanese refugees Mamere (Arnold Oceng), Paul (Emmanuel Jal) and Jeremiah (Ger Duany)  who are given the chance to resettle in America, arrive in Kansas City, Missouri, where their encounter with employment agency counselor (Reese Witherspoon) forever changes all of their lives. Directed by Philippe Falardeau ("Monsieur Lazhar") and written by Emmy-nominated writer Margaret Nagle, who also co-wrote a documentary called "The Lost Boys of Sudan," "The Good Lie" is a touching drama loosely inspired by the stories of those refugees who were orphaned and started a new life by immigrating to the U.S. Though she headlines the film (perhaps used as a box-office draw for the movie), it's not really Witherspoon's movie - and though she is solid as always - her role is a supporting one, onscreen only for about 40 minutes of the film. On that note, the most memorable performances are the natural, unaffected ones from trio the unknown Sudanese actors who are the focus of the film, as well as Kuoth Wiel, an actual Sudanese refugee. The first act of the movie, focusing on the brutal Sudanese civil war, is difficult to watch but well-handled given the subject matter, and it becomes a little lighter as the men adjust to the new life in the States. The last act of the film is a little more uneven and the ending in particular doesn't seem to fit in with the rest of the film, lacking some emotional gravitas and poignancy, but on the whole, "The Good Lie" is satisfying and still works because of the likability of the actors and the appeal of the story, which has some affecting, humorous and quietly moving moments along the way.

The Equalizer - C-

Rated R, 131 minutes
Wes's Grade: C-

Denzel Washington

"The Equalizer" is a modestly entertaining but shallow, unoriginal crime drama

Denzel Washington is an Academy-Award winning actor whose trademark has been playing the anti-hero, good-bad guys who ultimately try to do the right thing. That's also the premise of Washington's derivative, vapid new crime and revenge tale "The Equalizer," and he reteams with his "Training Day" director Antoine Fuqua. There are some terrific moments, but Washington seems to be going through the motions and the story lacks originality or any subtlety. Robert McCall (Washington), a man who believes he has put his mysterious past behind him and dedicated himself to beginning a new, quiet life. But when McCall meets Teri (Chloë Grace Moretz), a young girl under the control of ultra-violent Russian gangsters, he can't stand idly by - he has to help her and is armed with hidden desire for justice and skills that allow him to serve vengeance in his own unique way. Based on the superior TV show of the same name, "The Equalizer" is a mediocre, shallow crime drama, hampered by its chauvinistic qualities (Washington literally comes into save the day for a young girl, well-played by Grace Moretz) and the fact that Washington is too old and paunchy for the role. Washington could do himself some favors with his career by playing a light romantic comedy or an indie film, neither of which he does frequently at all. Much like Johnny Depp and now Melissa McCarthy, he finds himself in the same type of film roles, though his career is in a better position than Depp and McCarthy's seems to be getting started. "The Equalizer" has some decent moments and the character is really quite good at what he does, but down the stretch it's too calculated and its strokes are painted too broadly, and decent actors like Bill Pullman and Oscar-winner Melissa Leo are wasted. With "The Equalizer," you get exactly what you expect, which is violence and a decent turn by Washington, though it could've have been considerably better with another actor and director. Go if you must, but if you've seen Washington's other films, you've seen this one too.