Steve Jobs: The Man in the Machine - B

Rated R, 128 minutes

There's likely a person on the planet who hasn't been impacted or touched by Steve Jobs in some way - if you don't have an Apple product, then you know someone who does. You'll know even more after the fascinating, detailed and overlong new documentary "Steve Jobs: The Man Behind the Machine." Director Alex Gibney, the proflic documentarian who has tackled such interesting and challenging subjects such as Enron, Scientology and Wikileaks now tackles his most difficult, complex subject: the founder of Apple and in some ways the father of the personal computer, the late Steve Jobs. Most of the planet, by now and especially after his death in 2011, is aware of at least some of the basic details of Jobs life and his rise as a technology pioneer and CEO of the now giant Apple, but the documentary goes into considerable more detail, speaking with friends, colleagues, industry insiders and journalists and family members and loved ones. "Machine" profiles Jobs as a brilliant with technology, but even smarter when it came to marketing Apple and its products, yet it's also a balanced portrayal of his personal and business life, showing what a charismatic but ruthless person he could be, confirmed by such folks as Apple co-founder Steve Wozniak (heard but not seen), his first daughter Lisa who he initially denied was his (again heard but not seen here, a slight disappointment, though we do gain some insight from Lisa's mother, Chrisann) and many others who Jobs worked with at some point. "Man in the Machine" ultimately goes on too long, spending too much time on things we either already knew (later Apple products) or internal Apple politicking that has little interest for the average viewer; the most fascinating is from a historical standpoint, with all the early footage and clips of Jobs at Apple, and while it touches on his personal life, it isn't extensive, given there's little to no footage or interviews from later family. Gibney ends it all on a bittersweet, romanticized note, and while Jobs was at times a total jerk there's no denying his impact and how many connected with him not personally but through the impact he had on their lives technologically. Gibney uses an eloquent Japanese proverb to describe Jobs, which tends to summarize the man and his machine quite well: striving for perfection but rarely achieving peace. The overlong but entertaining "Steve Jobs: The Man in the Machine," which precedes another feature film profile on Jobs coming later this fall, is an engaging look at some one you can thank for that Face Time chat or downloading your songs to your iPad, iPhone or iPod. Definitely worth a look.

The Visit - B

Rated PG-13, 94 minutes

Welcome back, M. Night Shyamalan we've missed you. It's great to welcome back the noted "Sixth Sense" director with a tense, well-made and low-key thriller, and his chilling new low-budget horror film, co-produced with prolific low-budget horror filmmaker Jason Blum, is his best film since 2002's "Signs." Becca (Olivia DeJonge) and younger brother Tyler (Ed Oxenbould) say goodbye to their mother (Kathryn Hahn) as they board a train and head deep into Pennsylvania farm country to meet their estranged maternal grandparents for the first time. Welcomed by Nana (Deanna Dunagan) and Pop Pop (Peter McRobbie), all seems well until the siblings start to notice increasingly strange behavior from the seemingly charming couple. Once the children discover a shocking secret, they begin to wonder if they'll ever make it home. Directed and written by Shyamalan, "The Visit" is devoid of big stars and big twists yet filled with a nice, disturbing atmosphere and humor that's been missing from his films over the years and will certainly have you wondering if your grandparents really are crazy. You'll find some of Shyamalan's trademarks: the chilly Pennsylvania (Shyamalan is a native) locale, some fun old movie references (among them, Michael Myers), plenty of clues and a truly creepy story that is well-handled by the director, including the final plot twist, which unlike other Shyalaman twists, is most surprising because it's revealed so casually and low-key. Most memorable are the two newcomers who ground the film so well, the wistful DeJonge and especially delightful Australian actor Oxenbould (of "Alexander and the Terrible, Horrible, No Good, Very Bad Day"), whose original, made-up rap tunes steal the movie (and stay over the credits for the best one), as well as the strange, eerie grandparents, Irish actor McRobbie and in one of the nuttiest turns seen in awhile, Tony-award winner Dunagan as the primary reason to stay in bed after 9:30 pm. Shyalaman also tries to incorporate a semi-touching but mostly maudlin backstory into "The Visit," which is less successful than either its understated humor or its genuinely weird vibe; also the movie's more annoying moments come as it relies on the overused found-footage/let's-film-everything theme and in spite of a somewhat sloppy climax, overall there's enough solid chills to make it work. Shyalaman also loves to layout obvious hints, and there's plenty to keep you guessing in the satisfyingly tense, enjoyably chilling "The Visit," which marks a nice return to form for the director. Definitely worth a look and one of the better horror films of late.

Before We Go - C-

Rated PG-13, 89 minutes

The unremarkable, contrived new romance dramedy "Before We Go," in spite of its two appealing thirty-something leads, falters in making you believe in or fight for this pair. The movie follows the journey of two strangers, Nick (Chris Evans) and Brooke (Alice Eve) stuck in New York City for the night. Starting as convenient acquaintances, the two soon grow into each other's most trusted confidants when a night of unexpected adventure forces them to confront their fears and take control of their lives. Directed by Evans in his feature directorial debut and written by Oscar-winner Ronald Bass ("Rainman"), "Before We Go" is a downbeat, implausible look at whims, bad luck and lost chances that couldn't have happened to a more engaging pair. It's a likable but inauspicious directing debut for Evans, with the thin storyline and cardboard characters riding on the charms of he and fellow lead Eve ("Men in Black 3"); the movie has little to do but have the characters walk around New York City and discuss their sucky love lives and relationships. On top of that, the bad luck these two have you'd think they'd eventually run away from each other (stolen purses, declined credit cards, lost relationships and jobs - you name it) and it's a miracle they stay together as long as they do. Captain America/Evans has a lot going for him, but this time out, he's not able to save this depressing, talky and unsatisfying low-budget rom com. Sorry to say, but "Before We Go" is one to skip.

The Transporter: Refueled - D

Rated PG-13, 96 minutes

The Luc Besson-created and Jason Statham-starring "Transporter" franchise were never truly great movies, but modest box-office hits and guilty pleasures at best. Now the fourth film, "The Transporter: Refueled" featuring a new cast and Besson still producing arrives in theaters, and this preposterously dumb, badly acted action-thriller is peppered with a few decent action scenes but is otherwise a typical Labor Day throwaway.  Frank Martin (played by newcomer Ed Skrein taking over for Statham), a former special-ops mercenary, is now living a less perilous life - or so he thinks - transporting classified packages for questionable people. When Frank's father (Ray Stevenson) pays him a visit in the south of France, their father-son bonding weekend takes a turn for the worse when Frank is engaged by a cunning femme-fatale, Anna (Loan Chabanol), and her three seductive sidekicks to orchestrate the bank heist of the century. Directed by Camille Delamarre and co-written by Besson with Adam Cooper and Bill Collage, "The Transporter: Refueled" is a lackluster, dull attempt to revive the "Transporter" franchise, and this bland effort is easily the worst in the series, which is saying something and might have you longing to see Statham, who has since gone on to better things since the last film in 2008, back in the saddle as professional hit man and driver Martin. It's no big surprise that such a forgettable movie like "Refueled" would close out the summer, but at least it tries; handsome British actor Skrein, sure to become a bigger star after playing the villain in the upcoming "Deadpool," is handsome but vacuous, and the three models playing the blonde-wigged sidekicks have to be among the worst actresses seen in sometime (why give them any lines at all - they're all just awful). Familiar actor Ray Stevenson ("Thor") tries to add some comic relief as Martin's dad, but he isn't given much to do and the cast in general is less memorable than the real star of the show, those nice Audi S8's that do some of the more impressive stunts in the movie, which should keep you from falling asleep from the preposterous and predictable storyline involving some shady crooks from Martin's past. There are many better ways to spend your Labor Day holiday, and they don't involve the slickly packaged, forgettable action movie "The Transporter: Refueled," which should hopefully put this film series to rest for good.

Grandma - B

Rated R, 80 minutes

Julia Garner and Lily Tomlin

Before you go see the affecting, superbly acted dramedy "Grandma," put aside any personal beliefs you may have about homosexuality or abortion. Starring the charming, veteran comedienne Lily Tomlin in a role that's probably a tad closer to some of the other things she's played, it may have some different yet complex sensibilities but has its heart in the right place. Elle (Tomlin) is a mature lesbian poet who has just broke up with her younger girlfriend (Judy Greer) when Elle's granddaughter Sage unexpectedly shows up needing $600 bucks before sundown. Temporarily broke, Grandma Elle and Sage spend the day trying to get their hands on the cash as their unannounced visits to old friends and flames end up rattling skeletons and digging up secrets. Directed and written by Paul Weitz of "American Pie" and "About a Boy" fame, "Grandma" is a quick, funny and very moving tale of family loyalty and owning up to any past mistakes and choices you've made, and it has an engaging heart and soul missing in many movies today. In fact, "Grandma" is so quick, you wish it would go on longer, and one of its few drawbacks is it doesn't fully explore many, many issues it raises, and leaves many more implied, but what is there is quite good. Tomlin ably graces the screen in a humorous, bittersweet performance that will have you laughing and crying, and the memorable car she and her granddaughter, played believably by Julia Garner ("Perks of Being a Wallflower"), a 1955 Royal, is actually owned by Tomlin. Tomlin's Elle is quite the tough cookie too: she kicks tail and takes names, drips coffee in the coffeehouse, gets punched by a young girl outside an abortion clinic, all the while helping her granddaughter do the right thing. Sam Elliott also makes a brief appearance in the film's most serious and moving episode, about a former husband she abandoned, as does Oscar-winner Marcia Gay Harden as her equally difficult daughter. The entertaining, episodic "Grandma" ends too quickly and too predictably and there could've easily been much more, but it's still a satisfying look. It's not for everyone, but it's certainly worth a look for the always engaging Tomlin, who's quite the tart here.

Learning to Drive - B-

Rated R, 89 minutes

The sweet new dramedy "Learning to Drive" is as pleasant and comfortable as a Sunday drive. It's a well-acted but safely predictable movie that mines the overused coming-of-age genre, but you'll still leave with a smile. Wendy (Patricia Clarkson) is a sharp-tongued Manhattan book critic who is shattered when her husband Ted (Jake Weber) leaves her. In order to visit her daughter (Grace Gummer) in upstate New York, Wendy begins taking driving lessons from Darwan (Ben Kingsley) an American citizen originally from India who makes a living as a cabbie and giving driving lessons. The two form an unlikely friendship that teaches them both about their current life situation. Directed by Isabel Coixet ("Elegy" - also with Clarkson and Kingsley) and written by Sarah Kernochan ("What Lies Beneath"), "Learning to Drive" is a familiar, charming but hardly revelatory look at a middle-aged woman's often uneasy transition to singlehood and trying to new things, but works mainly due to its talented cast. Led by the always engaging and one of cinema's most underrated character actresses, Clarkson, who ably grounds the film, along with Kingsley, both of whom share a warm chemistry, especially in their driving lessons together. I also appreciate that "Learning to Drive" is very female-driven, given the director, writer and star are all women, something that isn't seen often in Hollywood these days. The life lessons and platitudes espoused here are a little too obvious but my favorite coming from Kingsley: "all you need is courage and a little gas" and down the stretch you have a sense of the road it's taking, which is actually a little braver than most for this genre. I appreciated Clarkson's understated, likable performance, which helps the film, given that it could've faltered (and likely been much more annoying) under another actress such as Susan Sarandon or Diane Keaton. Most of the enjoyable "Learning to Drive" works pleasantly enough, and is a bit of a trifle, but it's a serviceable transition from late summer to early fall.

A Walk in the Woods - C+

Rated R, 98 minutes

The thinly charming, predictable "A Walk in the Woods" is loosely based on a true story, though after seeing it you'd have to think the real story was much more adventurous than this dull, episodic tale, which seems a surface, trifle exploration of friendship in elements. After spending two decades in Britain, celebrated travel humorist author Bill Bryson (Robert Redford) returns to his native United States. In an effort to reconnect with his country, he decides to hike the 2,200 stunning miles of the Appalachian Trail. But while he had envisioned it as a trek of relaxation and tranquility, it becomes something entirely different when his philandering, former friend Stephen Katz (Nick Nolte) joins him on the trip. Directed by Ken Kwapis ("The Sisterhood of the Traveling Pants") and co-written by Rick Kerb and Bill Holderman and based on the novel and experiences of real-life author Bryson and his friend Katz, this mildly engaging trip seems more intent on the odd-couple grousings of two older men who seem ill-equipped to handle what nature seems to give them. The charming leads are game, including the miscast Redford, who is too old for the role and looks nothing like the real Bryson, along with the better cast Nolte, who chews scenery and is the most memorable part of the movie, aside from the real shots of the lovely Appalachian Trail. The film meanders in its second act, especially a misplaced off-trail sequence involving Nolte's amorous escapades, and Redford's Bryson spends a lot of time talking about the trees, griping that he always finishes what he starts, as well as insisting he won't be writing a book - yet interestingly (and this is not a spoiler if you're familiar with Bryson's book) - they don't completely finish the trek and of course Bryson does end up writing a book - something that seems anti-climactic given the film's premise. I liked the Redford-Nolte teaming, but "A Walk in the Woods" is a disappointment and lacks authenticity (the film's climactic scene appears to have been shot on a studio soundstage) or a sense of real wonder.