Wes's Worst Films of 2012

It comes to that time of year to look back upon the best and worst films of 2012, a highly subjective list that varies considerably from critic to critic. Here is my list and a few comments, most of them will come as no surprise that Eddie Murphy, Tyler Perry and Adam Sandler, among others, would make the list, but in this case, they're all very deserving. The list is in no particular order.

Madea's Witness Protection, Alex Cross
Tyler Perry makes the list twice this year in two different forms, as his Madea character and as police detective Alex Cross, first made famous by Morgan Freeman. He's not Morgan Freeman, and Madea, still a hit with audiences, is still not that funny.

A Thousand Words 
Eddie Murphy makes the list again, in a comedy that sat on the shelf for several years, where it should've stayed. Didn't take a thousand words to understand how bad this was.

That's My Boy
True, this profane Adam Sandler comedy wasn't as bad as "Jack and Jill," which isn't saying much but it was still pretty awful, and its awful box-office perhaps signaled that audiences are growing wearing of this crap. A word of warning for 2013: "Grown Ups 2."

One for the Money
You have to go all the way back to January 2012 for this dog, a lame Katherine Heigl comedy that left theaters pretty quickly. Heigl proves that she's still among the most annoying of actresses, and should've never left "Grey's Anatomy."

John Carter, Battleship
If you're name was Taylor Kitsch in 2012, then you were associated with two of the biggest flops of the year. First came "John Carter," based on an Edgar Rice Burroughs story, who must've rolled over in his grave several times after this. Next up was "Battleship," which proves that movies based on board games are rarely a good idea. While both films tanked in the U.S., they made decent money overseas, but not enough to still be considered huge flops.

Project X 
This cheap, lame teen party comedy was an early spring $100 million hit but was so incredibly loathsome it put a bad name for lost footage films, which became the rage in 2012.

Cosmopolis
This Robert Pattinson movie, directed by David Cronenberg, was slow, boring, borderline incomprehensible and unwatchable. And that's being nice.

Paranormal Activity 4 
The most unnecessary, money-grabbing horror sequel since "Saw" ended its run. Please put this out our misery. No more.

 
  

Wes's Best Films of 2012

It comes to that time of year to look back upon the best and worst films of 2012, a highly subjective list that varies considerably from critic to critic. Here is my list and brief comments for each. At the time I made my list, there were a few films I hadn't yet seen, including "Zero Dark Thirty," "The Impossible" and "Amour," any of which could make this list. After I see those films in January, this list will likely change, so here it is, for now. This is in no particular order.

Lincoln
Steven Spielberg's film about the final months of Abraham Lincoln's life was a showcase for some of the year's best performances, including Daniel Day-Lewis, amazing in the title role, Tommy Lee Jones and Sally Field, all of whom will receive loads of accolades for their strong turns. A slightly overlong, talky political film, it's a must-see for history buffs.

Silver Linings Playbook
The romantic dramedy of the year, with amazing turns from Bradley Cooper, Jennifer Lawrence and Robert DeNiro, among others, about two flawed individuals who discover they're perfect for each other. Personally, my favorite film of the year.

Life of Pi
Based on the novel of the same name, this story is much more about just a boy and his adventure with a tiger, but a spiritual very personal discovery of self-worth and value. Director Ang Lee makes near-perfect use of 3D in one of the most handsomely filmed movies of the year.

Les Miserables
The big-screen adaptation of the beloved musical isn't perfect (Russell Crowe I'm talking to you), but it's a deeply satisfying, enthralling and often beautiful take on Victor Hugo's story. A must-see for fans of the musical, who will also fall in love with this version and yes, Anne Hathaway is a shoo-in for the Best Supporting Actress Oscar.

Flight
Though Daniel Day-Lewis is amazing as Abraham Lincoln, I feel that Denzel Washington's tour-de-force turn as an alcoholic pilot in Robert Zemeckis' dark tale is not only the year's most searing, it's among Washington's career-best.

Skyfall
James Bond was back for the first time in several years in one of the best Bond films ever, an action-packed one that also delves into Bond's backstory. Daniel Craig proves he's still a great choice as Bond, particularly in the stunning opening action sequence, and Javier Bardem is one of the creepiest Bond villains ever.

The Sessions
This charming yet unsentimental indie film based on the true story of Mark O'Brien, who enlisted the help of a sex therapist to help him lose his virginity. As O'Brien, John Hawkes is endearing and engaging, while the most memorable turn goes to Helen Hunt, in an emotionally and physically baring performance.

Argo
Ben Affleck's third outing as director and a fact-based drama set during the Iran hostage crisis of 1979 was thrilling, engaging and has one of the year's most heart-stopping finales. Continues to demonstrate that Affleck is a much better director than he is an actor.

Zero Dark Thirty
The year's most powerful, intense drama again comes from "The Hurt Locker's" Kathryn Bigelow. Focusing on the decade-long manhunt for Osama Bin Laden, it's mesmerizing and superbly acted by Jessica Chastain, a front-runner for the Best Actress Oscar. The final 20 minutes are among the most breathtakingly intense seen this year.

Beasts of the Southern Wild
This original, depressing but powerful indie film features an astonishingly natural, assured breakout performance from 6-year old newcomer Quvenzhane Wallis.

Honorable Mentions:
The Dark Knight Rises, Looper, Bully, The Avengers, Wreck It Ralph, Django Unchained, Pitch Perfect, Ai Weiwei: Never Sorry, The Intouchables, Cabin in the Woods, The Perks of Being a Wildflower, Jiro Dreams of Sushi and The Master.





 
  

Parental Guidance - C

Rated PG, 105 minutes

Crystal, Midler go through the motions in maudlin "Parental Guidance"

Billy Crystal and Bette Midler

What do you do when you star in a movie with an Oscar-winner and a multi-talented Grammy winner? Give yourself all the best lines and scenes, of course, which is what veteran comedian and perennial Oscar host Billy Crystal does in the mildly enjoyable yet forgettable family comedy "Parental Guidance," which turns very sentimental in its final act. Old school grandfather baseball announcer Artie (Crystal), who's accustomed to calling the shots, meets his match when he and his eager-to-please wife Diane (Grammy-winner Bette Midler) agree to babysit their three grandkids when their type-A helicopter parents (Oscar-winner Marisa Tomei, Tom Everett Scott) go away for work. Crystal and Midler are good for a few laughs, but this episodic, maudlin and very thin comedy could've easily played as a cable TV movie, with a weak script, direction and cookie-cutter characters. Crystal, who also produced the film, can throw out one-liners with the best of them, though it's seems like a typical Crystal schticky stand-up routine. "Parental Guidance," directed by Andy Fickman, has a setup that is too easy, too predictable and sheds too many tears in its finale; still Crystal and Midler have decent chemistry as the parents who don't want to become "the other grandparents." Tomei, adept at both comedy and drama, is clearly secondary to the leads here in a take-the-money-and-run type of performance. "Parental Guidance," for what it's worth, is good, clean family fun with a few good lines but otherwise a forgettable comedy film.

Wes's Grade: C

Les Miserables - B+

Rated PG-13, 160 minutes

Beautiful, epic "Les Miserables" hits all the right notes

Anne Hathaway

The big question the epic musical "Les Miserables" sets to answer is not just about love and war but "do you hear the people sing?" Yes, yes and yes would be the answer to Tom Hooper's ("The King's Speech") enthralling, entertaining and often beautiful film. Some of it lacks intimacy and not all of it works perfectly, but fans of the musical will be pleased. Set against the backdrop of the 19th-century French Revolution, "Les Misérables" story is a familiar especially to those who know Victor Hugo's epic novel or the award-winning Broadway musical. Hugh Jackman is ex-prisoner Jean Valjean, hunted for decades by the ruthless policeman Javert (Russell Crowe) after he breaks parole. When Valjean agrees to care for factory worker Fantine's (Anne Hathaway) young daughter, Cosette (Amanda Seyfried), their lives change forever. "Les Miserables" is a grand and grandly entertaining musical that's set to garner many accolades, including one for Hathaway's stunning, emotional (and very supporting, she's only in the film's first act) turn as Fantine. Her delivery of "I Dreamed a Dream" will please fans of the musical and may put memories of Susan Boyle out your head. Jackman's strong turn as Valjean is one of the film's highlights, though the real question may be: can Russell Crowe sing? Yes and no. Yes, he has a serviceably thin voice that's the weakest of the leads and while passable, is the film's biggest flaw. Relative unknowns Eddie Redmayne and Suzanne Barks are also memorable as Marius and Eponine, respectively, with Barks delivering a nice version of the classic "On My Own." Sacha Baron Cohen and Helena Bonham Carter prance around nicely as the comic relief, the Thenadier's, providing some laughs from the film's general downbeat undertone. The sets are exquisite and the music, sung by the actors on set, adds realism and a certain exuberancy not found with other musicals; the barricade, which has so much power onstage, seems smallish here until the final scene. On the downside, there's so much grandeur to "Les Miserables," well-handled by Hooper, that some of the intimacy is lost and it comes across as a little distant. Hooper does make one significant change from the musical in that there is minimal spoken dialogue, which sometimes works in the film's favor. Overall, "Les Miserables" is an entertaining, handsome and award-worthy effort that fans of the musical should see.

Wes's Grade: B+

Django Unchained - B

Rated R, 165 minutes

Tarantino's violent "Django Unchained" casts a hypnotic, retro vibe

Jamie Foxx

The vastly entertaining new drama "Django Unchained" is part spaghetti western, part Civil War and all of it unmistakably bears Quentin Tarantino's violent sometimes heavy hand. Overlong, over-the-top yet completely watchable, "Django Unchained," inspired by the 1967 spaghetti western "Django" starring Franco Nero (who cameos here), it's graphically violent but so mesmerizing you won't be looking away. Set in the deep south two years before the Civil War, slave Django (Jamie Foxx) finds himself paired with German bounty hunter King Schultz (Christoph Waltz), who is after the murderous Brittle brothers. Django himself has a purpose in helping Schultz, to find his wife Broomhilda (Kerry Washington), whom he has been separated from. They discover she's at the infamous Candyland Plantation, run by the brutal Calvin Candie (Leonardo DiCaprio), overseen by Candie's right-hand man and servant George (Samuel L. Jackson), and the two must risk their lives to rescue her. Directed and written by Tarantino, the film is a hypnotic, blatantly violent and enjoyable tribute to spaghetti westerns with some retro 1970's blaxploitation thrown in for good measure; it's "Mandingo" or "Roots" as seen through the eyes of Sergio Leone and Clint Eastwood. It's too long, too talky and often heavy handed with a saggy second act that picks up to the considerably bloody over-the-top but fun finale that's well executed by Tarantino. Oscar-winners Waltz and Foxx ground the film well, a serviceable, unconventional pairing that works for that reason; the underused Washington of the TV show "Scandal" (and who played Foxx's wife in "Ray") is a lovely centerpiece. DiCaprio and Jackson chew up the scenery but their presence gives the film some life about midway through; DiCaprio's overacting is normally annoying, but here he's used well, while Jackson nearly steals the film with some of the best lines. Watch for the aforementioned Nero in a cameo, not to mention a large, eclectic cast who also appear briefly, including Tarantino himself, Dennis Christopher, Bruce Dern, Jonah Hill, Don Johnson, Amber Tamblyn and even "Dukes of Hazzard" star Tom Wopat (yes, you read that right). The heavy, graphic violence is typical of Tarantino, though most will object to the treatment of slavery (one racial epithet is used quite frequently), and the combo of the two may not make this film for everyone. Even with that, "Django Unchained," which part "Bonanza" and part "Taxi Driver," is one of the year's most enjoyable films and a treat especially for Tarantino fans.

Wes's Grade: B

Rust and Bone - B

Rated R, 118 minutes
In French with English subtitles

Cotillard shines in gritty but romantic tale of "Rust and Bone"

Marion Cotillard

The French film "Rust and Bone" is a moving, well-acted character study that could've easily been another movie-of-the-week about people overcoming disabilities. A struggling, lonely single father named Ali (Matthias Schoenaerts) helps a beautiful whale trainer named Stephanie (Cotillard) recover her will to live following a terrible accident that leaves her confined to a wheelchair. Stephanie's spirit broken by the same tragedy that took her legs, she gradually finds the courage to go on living trough transcendent moments spent with Ali -- a man with precious little pity, but an enormous love of life. "Rust and Bone" is a gritty, rough but tactile drama with fine performances. The story, written and directed by acclaimed French director Jacques Audiard ("A Prophet") and based on a short story by Craig Davidson, is a little too familiar and is a little patchy in places but it's an otherwise unsentimental look at an unconventional romance. The leads also share warm chemistry; memorable is rugged Belgian actor Schoenaerts, who is solid as a flawed but sensitive individual, and especially by Oscar-winner Cotillard (seen in the blockbuster "The Dark Knight Rises"), who with the help of a little CGI, believably conveys the emotions and life of a disabled person who hasn't forget how to love. The last act is a little muddled and the ending is a little too pat, but its otherwise a satisfying tale with some gritty moments, especially as Ali begins his fighting career. The  is certainly worth a look, especially for Cotillard, who's nominated for a Golden Globe and Screen Actors Guild (SAG) award for her strong turn.

Wes's Grade: B

This is 40 - C+

Rated R, 134 minutes


Paul Rudd and Leslie Mann

Likable but overlong “This is 40” shows the best and worst of Apatow

Apparently Judd Apatow has a lot to say about growing, evidenced in his engaging but overlong new comedy “This is 40,” a spinoff sequel from a couple you first saw in Apatow’s 2007 film “Knocked Up.” That couple, Pete (Paul Rudd), a music promoter, and Debbie (Leslie Mann, Apatow’s wife), a boutique owner, struggle with the financial pressures and stresses of growing older and raising two girls, Sadie and Charlotte (Maude and Iris Apatow, Apatow’s real-life children). Directed and written by Apatow, this is a true family affair, both personally and professionally, with Apatow’s immediate family appearing and many of his usual players, including Jason Segel, Melissa McCarthy, Chris O’Dowd, Robert Smigel and Annie Mumolo, who co-wrote “Bridesmaids” with Kristen Wiig. “This is 40” plays to Apatow’s comic strengths, namely his sharp writing and dialogue and his ability to mix personal and creative paths. On the downside, it’s uneven, sometimes shrill and at about 40 (sorry no pun intended) minutes too long, much too overextended for what it really is: a coming of age film for those past 40. With too many subplots and characters to keep track of and a middle act that meanders, Apatow could find value in finding ways to shut up or turn it off.  Still, the cast performs well, with Mann and Rudd both capable, likable actors who ground the film well.  John Lithgow and Albert Brooks are fun as the fathers, Megan Fox and Charlene Yi as boutique employees, and McCarthy is memorable in a good but overdone bit as a disgruntled parent. Those around this age should appreciate most of it, and “This is 40” provides some entertaining, if not, profane moments for couples and parents.  Would’ve been much more enjoyable if Apatow would learn how to tighten up the plot, because for a comedy such this, 2 hours and 14 minutes is simply too long and too redundant.

Wes’s Grade: C+

Jack Reacher - C+

Rated PG-13, 130 minutes

Cruise's back in the mildly enjoyable yet rote thriller "Jack Reacher"

Tom Cruise and Robert Duvall

If you're a Tom Cruise fan, you'll likely enjoy his new thriller "Jack Reacher." If you're not, you will likely tolerate it. Slow-moving but peppered with a handful of fun moments, it's a pretty standard whodunit that mostly just goes through some familiar paces. After a sniper kills five people in Pittsburgh, Pennsylvania, police arrest a man named James Barr (Joseph Sikora), a former Army sharpshooter, who asks them to contact Jack Reacher (Tom Cruise), a drifter and former Army Military Police officer. Working as an investigator for Barr's defense attorney (Rosamund Pike), Reacher unravels a case involving a hired killer and a Russian known only as "the zec" (Werner Herzog). Mildly entertaining with a little grit thrown in, "Jack Reacher" is a disappointing effort, but not for the reasons you might think. Directed by Christopher McQuarrie ("Valykrie")  and faithfully based on the novel "One Shot" by Lee Child, the 5'7 Cruise is an odd casting choice for Reacher, who in Child's book is a physically imposing, tall ex-military figure. Cruise's small stature actually makes Reacher more squirrely and he handles the fight scenes adeptly, but the cookie-cutter, overly familiar plot and characters gives it a well-worn feel, not to mention the film has some pacing problems, particularly in its draggy second act. The most memorable actor in "Jack Reacher" is not Cruise but the crusty presence of Oscar-winner Duvall as a shooting-range owner, who shows up late in the film and essentially walks off with the best lines and scenes; it's also nice seeing acclaimed director Herzog as the villain, albeit an oddly milquetoast one. "Jack Reacher" isn't a terrible movie but a very familiar one you've seen before many times, and without Duvall, this would be a big time waster.

Wes's Grade: C+

The Guilt Trip - C

Rated PG-13, 95 minutes

Rogen, Striesand in the sweet but formulaic "Guilt Trip"

Seth Rogen and Barbra Streisand

Many movies such as "Field of Dreams" have explored the relationship between father and son. The charming but unoriginal new comedy "The Guilt Trip" explores the relationship between mother and son. Stars Seth Rogen and Barbara Striesand have solid chemistry, but the story from Dan Fogelman ("Cars," "Tangled") is cookie-cutter formulaic. The story is about an inventor (Rogen) who invites his mother (Streisand) on a cross-country trip as he tries to sell his new product while also reuniting her with a lost love. The forgettable yet engaging "The Guilt Trip" is often entertaining and fun, and it should leave you with a smile, if not anything else. The stars are going through the paces, though at age 70, Striesand still can command the screen as well as she always has, even if the role of an annoying, kindhearted Jewish mama is as foolproof as they come. The set up is also too easy and predictable, making this part buddy-buddy road comedy and part family vacation movie; a handful of mildly funny gags and throwaway lines doesn't add up to much. "The Guilt Trip" could've benefited from a stronger director (Anne Fletcher, of "Step Up" directs) and a script that is so lazy you can see where it's going far before these characters reach their destination. You may want to check out the mediocre, mosdestly entertaining "The Guilt Trip" to see Striesand and a less-annoying but still smart-alecky Rogen go through their paces, but otherwise this is one to skip.

Wes's Grade: C

The Hobbit: An Unexpected Journey - B+

Rated PG-13, 166 minutes

"Hobbit" is overlong yet dazzling, especially for "Rings" fans

Martin Freeman as hobbit Bilbo Baggins

I'll fully admit I've never really cared much what happens in Middle-earth. I haven't read J.R.R. Tolkien's "Hobbit" or "Lord of the Rings" books, so I am not fully vested in this new film series; while I clearly admired both Tolkien and filmmaker Peter Jackson's big screen adaptations, I wasn't as eagerly anticipating this as some have been. With that in mind, I still enjoyed Jackson's entertaining, charming but sometimes slow new film "The Hobbit," based on Tolkien's beloved books, which act as a prequel to "The Lord of the Rings" series, taking place sixty years before the events in those books. "The Hobbit" follows hobbit Bilbo Baggins (Martin Freeman), who is hired by wizard Gandalf (Ian McKellan) to follow thirteen dwarfs across Middle-earth to reclaim Lonely Mountain from Smaug the Dragon. Dazzling, entertaining and too long especially for us non-Tolkien's fans; it's a little slow-going, especially in the first act, but it picks up midway though. The first-rate, often spectactular film should pick up plenty of technical accolades for its precise, detailed sets, music and photography; much will be said about the 48-frames per second process that Jackson uses for the film; it gives the film much more clarity and a vivid 3D portrait that will surely please fans of all ages. Jackson will be to Tolkien's books what George Lucas was to "Star Wars" in that this will be what he will always be remembered for, and Jackson has two more "Hobbit" films planned for release (and already concurrently filmed much like the "Lord of the Rings" series was), with an ending that clearly leaves it open for more. With Andy Serkis back as Gollum in motion catpure along with McKellan, Cate Blanchett, Ian Holm and Elijah Wood reprising their "Rings" characters, this has a familiar, well-worn feel to it that seems more of the same, and much like I felt about "The Lord of the Rings," it goes on much too long,  but Tolkien fans will clearly be impressed and pleased. This is a must see if your a fan of "The Lord of the Rings" series yet should be enjoyable for even non-fans.

Wes's Grade: B+

Hyde Park on the Hudson - C+

Rated R, 95 minutes

Murray's great as FDR, but "Hyde Park" just skims the surface

Bill Murray and Laura Linney

The charming new drama "Hyde Park on the Hudson" is based on the diaries of Margaret Stuckley, a sixth cousin, confidante and eventual mistress of U.S. President Franklin Delano Roosevelt. "Hyde Park" is a well-acted yet slight film that doesn't do such an iconic historical figure real justice. Set in June 1939 just before the outbreak of World War II, FDR (Bill Murray) and First Lady Eleanor (Olivia Williams) are preparing to host the King and Queen of England (Samuel West and Olivia Coleman) for a first-ever visit to the U.S. at their upstate New York home to give their support for the impending war. As the occasion unravels, FDR become closer to Stuckley, also known as Daisy (Laura Linney), who begins to realize the nature of her relationship with him. Directed by Roger Michell ("Notting Hill"), "Hyde Park on the Hudson" is an effusive, well-acted but empty film that doesn't fully explore the relationships it outlines. The chief highlight of "Hyde Park" is the remarkable performance of FDR by Murray, who doesn't give an exact impersonation but perfectly captures FDR's spirit as an engaging old man who didn't let his infirmities truly disable him. Linney is also good as Stuckley, though her overbearing, unnecessary narration throughout the film is one of the film's biggest flaws, not to mention the fact it gives considerable screen time to the King and Queen (well-played by British actors West and Coleman in roles also played by Colin Firth and Helena Bonham-Carter in "The King's Speech"). The film is really about Stuckley and FDR, yet the film never fully explores their relationship, just where it stood in light of FDR's complex political and personal life. Murray, who's nominated for a Golden Globe for this role, is the best reason to see the likable but unsatisfying "Hyde Park on the Hudson." 

Wes's Grade: C+

Playing for Keeps - C-

Rated PG-13, 105 minutes

Flat, unfunny “Playing for Keeps” is not a keeper

Gerard Butler

The tiresome new rom com “Playing for Keeps” is a mediocre, thin Gerard Butler vehicle only good to cash in on Butler’s charm. Butler is a former professional soccer player named George Dryer now down on his luck and trying to redeem himself by coaching his son’s soccer team. However, he finds himself in more trouble when he’s unable to resist some of the soccer moms (Judy Greer, Uma Thurman and Catherine Zeta-Jones), even though he still has feelings for his ex (Jessica Biel).  The vapid, unmemorable “Playing for Keeps” has handful of mildly amusing moments can’t overcome the flat script, direction and predictable plotting, in spite of an admittedly charming cast. Of the soccer moms, character actress Greer (“The Descendants”) is the most fun, but the lovely Thurman and Zeta-Jones, not to mention Dennis Quaid, seem woefully misdirected by Gabrielle Muchino (“The Pursuit of Happyness”), and Biel seems to be in another movie entirely. If they had better material and a better director, the charming, lovely actors might be able to make it work, but the large majority of it falls flat and unfunny, then a sentimental subplot involving sons and dads doesn’t help things either. “Playing for Keeps” comes in time for the holiday season but is far from being the perfect gift. This is for the charming Butler’s fan base only, who may be growing weary of seeing him in these cookie-cutter films.

Wes’s Grade: C-

Hitchcock - B+

Rated PG-13, 98 minutes

Scarlett Johansson, Anthony Hopkins and Helen Mirren

Hopkins and Mirren make "Hitchcock" an enjoyable trip

"Hitchcock" is the new drama about Alfred Hitchcock and the making of his classic horror film "Psycho." Superbly acted by Anthony Hopkins and Helen Mirren as Mr. and Mrs. Hitchcock, it sometimes loses focus with a couple of unnecessary subplots, but for cinema lovers the behind-the-scenes making of the film will be a treat. Based on the 1990 non-fiction novel "Alfred Hitchcock and the Making of Psycho," it examines the process that Hitchock (Hopkins) and his long-suffering wife Alma (Mirren) went through to make the now-classic film that became a watershed in cinema, not to mention the professional and personal challenges they went through. Directed by Sacha Gervasi (of the acclaimed documentary "Anvil"), the clear highlight of the enjoyable "Hitchcock" is the excellent, believable performances from Hopkins and Mirren, who provide some amusing tit-for-tat throughout the film. Their relationship is likely much more stylized and romanticized than it was in real life, but they make for a great couple, and the film gives considerable credit to the talented Alma, who in fact did help Hitch much more than the public realizes. Hopkins and Mirren are given great support from a bevy of A-list actors, including Toni Collette as Hitch's secretary and personal assistant Peggy; Scarlet Johansson as Janet Leigh; James D'Arcy as Anthony Perkins and even Jessica Biel in a small role as actress Vera Miles. "Hitchcock" is understandably less successful, particularly in the last act, when it veers off the film in an attempt to understand Hitch's inspiration for "Psycho" and Alma's desire to be an author. Hopkins, under considerable makeup and padding, doesn't resemble or sound much like Hitch, but much like he did with Richard Nixon, gives a forceful, charming performance that will win you over. The famous "Psycho" shower scene is also partially re-enacted, but from a filmmaker's point of view. Mirren and Hopkins are both Oscar-worthy candidates in strong performances, and they're the best reason to see the entertaining, often fun "Hitchcock."

Wes's Grade: B+

Killing Them Softly - B

Rated R, 97 minutes

"Killing Them Softly" is a compelling but talky crime drama

Brad Pitt in "Killing Them Softly"

Even bad guys are affected by the downturn in the economy, at least that's what the mildly enjoyable but talky new crime drama "Killing Them Softly" wants you to believe. Three dumb guys (Ben Mendelsohn, Vincent Curatola and Scott McNairy) who think they're smart rob a Mob protected card game, causing the local criminal economy to collapse. Brad Pitt plays the enforcer named Jackie hired by the mob to track them down and restore order. Well-acted and entertaining, "Killing Them Softly" is what might happen if "Goodfellas" or "The Sopranos" were put on a tight budget. The slow-moving, occasionally darkly amusing film is more talky than you might think yet much of it still works, though its political agenda throws it off track a bit. "Softly," directed and written by Andrew Dominik ("The Assassination of Jesse James") and loosely based on George V. Higgins 1974 crime novel "Coogan's Trade," the film considerably updates the novel so that it's set against the U.S. economic meltdown in the fall of 2008, clearly evident every time someone turns on the radio or TV, which happens frequently throughout the  film. Dominik stages most scenes well but also stages them too long, though he plays to his actors strengths in what is really an ensemble piece rather than the Pitt vehicle it's advertised as. Pitt's role is essentially a supporting one, and he's joined well by crime film and TV stalwarts "Goodfellas" Ray Liotta (slimy as usual) and "The Sopranos" James Gandolfini, not to mention strong character actors in Mendelsohn, Sam Shepard and Richard Jenkins, who plays off Pitt quite well. "Killing Them Softly" is darkly amusing, chatty and not as important as it seems, but still worth a look if you like this sort of thing.

Wes's Grade: B

The Collection - B-

Rated R, 82 minutes 
   

Josh Stewart and The Collector

Familiar, gory “The Collection” channels “Saw” but still entertains 

I will say I’ve never been a fan of the exceedingly violent “Saw” films, which grew tiresome in the new ways it found to torture people to death. On that note, even I was mildly surprised that I liked the gleefully over-the-top gory new exercise in torture called “The Collection,” actually a sequel to the 2009 cult hit “The Collector,” about a mastermind serial killer who specializes in blood and torture. Horror film fans and fans of “Saw” in particular will thoroughly enjoy what is essentially an extension of that film series. “The Collection” follows a young girl named Elena (Emma Fitzpatrick) who is kidnapped by The Collector and trapped inside an abandoned hotel transformed into a maze that’s filled with deadly traps. Her father (Christopher Macdonald) hires a group of heavily-armed mercenaries to go in and find Elena, and they convince Arkin (Josh Stewart), who somehow survived The Collector’s traps from the first film, to help them. “The Collection” is absurd, sadistic entertainment that’s clearly not for the faint of heart. If all of this seems familiar in a “Saw”-esque way, it’s because “The Collection” is directed by Marcus Dunstan, who helmed the first film and is screenwriter of several of the “Saw” films. Though I am not a fan of those films and of what one of my friends terms “torture porn,” “The Collection,” as implausible and exceedingly bloody as it is, can be mesmerizingly entertaining and enjoyable, particularly in the final act, when it becomes more of a tense cat-and-mouse game than pure bloodbath. Stewart (seen in a small role in “The Dark Knight Rises”), from the first film, returns for more beatings in what could be a steady gig if this film series catches on like the “Saw” series did. The creative booby traps are the highlight and will entertain the many who enjoy this type of thing, just beware this isn’t for those with a weak stomach, as the grisly opening sequence proves. Thankfully, “The Collection” is short (though hardly sweet) and at 82 minutes it moves by quick, with an ending that clearly leaves it open (or closed up in a trunk) for more. 

Wes’s Grade: B-

Silver Linings Playbook - A

Rated R, 120 minutes

 

Funny, touching and superbly acted “Playbook” is one of year’s best

Bradley Cooper

 

The poignant, amusing new dramedy “Silver Linings Playbook” is one of the year’s best new character-driven films and features strong turns from its cast. Pat Solatano (Bradley Cooper) has lost everything -- his house, his job, and his wife. He now finds himself living back with his Philadelphia Eagles-obsessed parents (Jacki Weaver and Robert DeNiro) after spending eight months in a state institution. Pat is determined to rebuild his life, remain positive and reunite with his wife, despite his challenging life circumstances. When Pat meets Tiffany (Jennifer Lawrence), a mysterious girl with problems of her own, things get complicated and an unexpected bond begins to form between them, and silver linings appear in both of their lives. “Silver Linings Playbook” is directed and written by David O. Russell, who helmed the Oscar-winning “The Fighter” and is based on the novel of the same name by Matthew Quick. “Playbook” is an engaging, touching crowd-pleasing dramedy with career-best performances from its leads and first-rate direction and writing from Russell. Russell paces the film well and his script doesn’t become too preachy, treating its characters with some dignity and respect, and finding genuine humor from mental illness. Cooper and Lawrence are sure to receive accolades for their strong, Oscar-worthy turns, especially Cooper, who shows great range from his low-brow “Hangover” comedies. Lawrence has a couple of the film’s best scenes as she talks football with DeNiro, in his best, award-worthy performance in years. The film falters slightly in its “Dancing With the Stars” themed-finale, but still likable. I enjoyed this film immensely and even more so than Russell’s “The Fighter,” also a great film, and it will be in my top 10 for 2012. The vastly entertaining, superbly acted and directed “Silver Linings Playbook” is a must-see film.
 

Wes’s Grade: A

Life of Pi - A-

Rated PG, 127 minutes

Visually stunning "Life of Pi" is also emotionally enriching

Suraj Sharma

Ang Lee new 3D adventure film is a visual feast and superbly acted, heartwarming drama that should please fans and non-fans of Yann Martel's best-selling novel of the same name upon which it's based. A 16 year-old Indian boy (newcomer Suraj Sharma, excellent) whose passage to a new life in America aboard a freighter ends in a shipwreck in the Pacific. He is left to fend for himself on a life raft with an adult Bengal tiger named Richard Parker. Lee's breathtaking and intelligently drawn "Life of Pi" that somehow manages to balance a moving character with sumptous visuals and an unusual emotional connection between a boy and a tiger. Martel's dense, deep novel also provides some heavy symbolism and metaphors for God, religion, faith, hope and family, among other things, some of which may not be picked up by all audiences, especially if you're unfamiliar with the novel. On the other side, fans of the novel will be satisfied by the faithful adaptation, though Lee is wise to simplify some of its more meditative elements, particularly in the last act of this unique, unconventional journey, to the point that some may not even pick up on the film's central twist (if not, it's worth a repeat viewing). The sets, the photography and the acting, particularly by Indian newcomer Sharma, in an award-worthy, sensational and breakout performance; he and the tiger carry the film (some have mentioned the tiger as a nominee for the Best Supporting Actor Oscar), and their unusual, sometimes humorous, sometimes tense relationship is what you'll remember most aside from the handsome visuals. Also memorable is Indian character actor Irrfan Khan (you may recognize him from "Slumdog Millionaire"), who has "Pi's" most moving scene near the end. Emotionally enriching, satisfying and visually breathtaking, "Life of Pi" is a must-see and one of the year's best films.

Wes's Grade: A-

Rise of the Guardians - B

Rated PG, 97 minutes

Santa Claus

Colorful, busy and occasionally dark "Rise of the Guardians"

"Rise of the Guardians" is the entertaining and energetic new animated fantasy film from DreamWorks Animation that is yet another interpretation on some popular fables of our time. Based on the children's novel series "Guardians of Childhood" by William Joyce, it's overly familiar, very busy and sometimes too dark for kids, but there's still a lot of cleverness to enjoy. Jack Frost (Chris Pine) is a carefree boy who has no responsibilities in the world aside from bringing winter wherever he goes. But everything changes when Pitch (Jude Law), a.k.a. The Boogeyman, begins his plan to engulf the world in darkness. The Guardians, Santa Claus (Alec Baldwin), the Tooth Fairy (Isla Fisher), the Easter Bunny (Hugh Jackman) and the mute but powerful Sandman enlist Jack to join their group to stop Pitch and protect the children of the world. "Rise of the Guardians" is a serviceable, enjoyable, if not hyperactive effort considering it's from DreamWorks and not Disney. The all-star cast clearly has fun voicing the characters, particularly Baldwin as Guardian leader Santa, also known as North here, and Jackman is also memorable; it provides an original, interesting version of the beloved characters, though it seems a little well-worn after so many versions of Santa Claus, not to mention the "Shrek" films. "Guardians" holds to a simple bottom-line message of belief and goodness of humanity, "Guardians" also tries too hard to be too many things to everyone, and while it's amusing (particularly the elves), witty and the animation very crisp, it may be too overwhelming for the young ones. With goodness comes the dark side too, and "Guardians" embraces its dark side too, with clever voicing from Law as the Boogeyman, though those darker elements may scare younger children. Overall, the crowd-pleasing "Rise of the Guardians" is solid family entertainment and families will appreciate its cleverness, though you may be a little worn out by the end of it.

Wes's Grade: B

Anna Karenina - B

Rated R, 130 minutes

Keira Knightley

Heavily stylized but compelling version of "Anna Karenina"

If you like pretty people in period pieces, then the new version of "Anna Karenina," the stagey but entertaining new drama based on the Leo Tolstoy novel is for you. From director Joe Wright ("Atonement"), it's often a matter of style over substance but also well-acted. The story unfolds in its original late 19th century tsarist Russia high-society setting and powerfully explores the capacity and differences of passionate, adulterous love and the stability of marriage and family. Anna Karenina (Keira Knightley) questions her happiness as she falls madly in love with Count Vronsky (Aaron Taylor-Johnson), though she is married to government official Alexei (Jude Law) and has a son with him. She must choose between the love she wants and the love she needs to survive. Director Wright has staged a lovely, enjoyable version of "Anna Karenina," though it often has the texture of a stilted perfume ad. Knightley is the most memorable of the cast, in a strong turn that's likely to garner her another Oscar nomination. Knightley can play these period roles and heavy costumes in her sleep, but she's quite ravishing in the costumes. Speaking of which, the clothes, the sets, music and photography are all first-rate, detailed and likely to garner accolades. Wright's approach, to take it as if the audience is watching this unfold on the stage, is intriguing; it initially works well but seems more difficult to incorporate later in the film. As the men in her life, Law and Taylor-Johnson are handsome though not quite as lovely to behold as Knightley, who this film clearly belongs to. "Anna Karenina" is a glossy, enjoyable film whose last act is filled with high drama, but it's a must-see especially for Knightley fans and those who enjoy this type of thing.

Wes's Grade: B

Red Dawn - C-

Rated PG-13, 90 minutes

Chris Hemsworth

This version of “Red Dawn” a vapid, unsatisfying effort

“Red Dawn” is the new action-thriller and remake of the 1984 hit film about the survival of a group of young people following the invasion of the United States. Filmed in 2009 but sitting on the shelf a few years due to studio (MGM) financial problems, this version is sillier and badly acted, though peppered with a few decent action set pieces and explosions.  A town in Washington State becomes the initial target of a foreign invasion. Under the enemy occupation, the town’s citizens are taken prisoners. A group of young people who dub themselves “The Wolverines” after their high school mascot, band together, train and organize themselves into a group of guerilla fighters to help liberate their town. This mildly entertaining but empty, bland version, designed to appeal to the young set, features “Thor’s” Chris Hemsworth, “Hunger Games” star Josh Hutcherson and “Ige Age’s” Josh Peck, all of whom were relatively unknown at the time the film was shot 3 years ago, lacks the originality and tautness of the 1984 John Milius film upon which this is based. It doesn’t that the film relies heavily on explosions, which are indeed sublime here, instead of characterization or a sense of power or mystery to the narrative. “Red Dawn” exploited the 1980s Cold War hysteria somewhat effectively, yet this version lacks that chilling verve, which now utilizes North Korean forces instead of Russian forces. The Milus film wasn’t a great film, except it shows what could happen with the invasion of foreign sources on U.S. soil and it also utilized the late Patrick Swayze to good effect. Hemsworth, Hutcherson and Peck, not to mention Tom Cruise’s son Connor, have a sense of bland or naïve ruggedness that’s appealing but doesn’t do much to add substance to a film that’s lacking it considerably. While mildly entertaining, “Red Dawn” is largely unsatisfying and unmemorable.

Wes’s Grade: C-

The Twilight Saga: Breaking Dawn Part 2 - C

Rated PG-13, 116 minutes

Rousing "Breaking Dawn 2" finally brings an end to bland "Twilight" series

Robert Pattinson and Kristen Stewart

"Twilight" fans the world over will likely be in mourning following the latest and probably last film based on the Stephenie Meyer book series, "Breaking Dawn: Part 2," a rousing film that is a better entry of these films, which isn't saying much, especially if you're like me and haven't enjoyed them from the beginning. After the birth of Renesmee Cullen, Edward (Robert Pattinson) and Bella (Kristen Stewart), who is now a vampire, find themselves enjoying her new life and abilities with Edward and his family. But Renesmee (Mackensie Foy) is misidentified for an immortal child, a human infant who has been bitten and transformed into a vampire, a taboo in the Vampire world. After being reported to the Volteri, the Cullens begin to gather foreign Vampire clans and nomads from around the world to stand and witness against the Volturi.. With their allies, the Cullens and the Wolf Pack, led by Jacob (Taylor Lautner) stand to prove their innocence to the Volturi once and for all. "Breaking Dawn 2," directed by Bill Condon, who helmed "Breaking Dawn Part 1," brings some energy and fun to the last installment, though most of us are glad this marks an end to the series geared largely toward the younger set. Stewart is still the most interesting of the cast, and her vampire transformation is the film's highlight, not to mention a rousing climax bringing all sorts of vampires from around the world to the mix. It's still badly acted by the rest, particularly Lautner, who's given less to do in this installment and is still a pretty face, much like the drab Pattinson. Pattinson and Stewart's relationship troubles have overshadowed an otherwise mediocre film that's overall been rather slack and milquetoast. With the lovely leads and somewhat intriguing story, it's been easy to see why the "Twilight" series has been so popular, but much like the books, the films (including this one), have been somewhat entertaining but by and large bland and milquetoast, with the dramatic arc clearly lacking in scope. The mildly enjoyable "Breaking Dawn Part 2" should please fans of the series, everyone else will suffer through it.

Wes' Grade: C

Lincoln - B+

Rated PG-13, 150 minutes

 Day-Lewis the highlight of the talky, reverential period drama “Lincoln”

Daniel Day-Lewis

Everything you’ve heard about Steven Spielberg’s new fact-based drama “Lincoln” is true. In an amazing performance,  Daniel Day-Lewis perfectly embodies U.S. President Abraham Lincoln that’s sure to be Oscar-nominated. The voice, the clothes, the amble, there’s nothing that the method-acting obsessed Day-Lewis can’t tackle with aplomb. As a film, “Lincoln,” which is based on Doris Kearns Goodwin’s historical novel “Team of Rivals: The Political Genius of Abraham Lincoln” is overlong, a tad stodgy and exceedingly talky, and it’s more of a political drama than Civil War action drama, but in the end still genuinely  moving and satisfying. The film covers the final months of Lincoln’s presidency and life, as he strives to end slavery and pass the Thirteenth Amendment to the Constitution, which abolishes slavery. Written by playwright Tony Kushner (“Angels in America”), the film is enormous in scope and features a gallery of real-life characters, from Mary Todd Lincoln (Sally Field), their oldest son Robert Todd Lincoln (Joseph Gordon-Levitt, little to do), Radical Republican Congressional leader Thaddeus Stevens (Tommy Lee Jones, great here), Secretary of State William Seward (David Strathairn) and influential politician Francis Blair (Hal Holbrook), among many others.  “Lincoln” shows Abe Lincoln the politician, who was able to finesse enough votes to abolish slavery and earn his rightful place in history before being killed much too early. Superbly acted and directed, “Lincoln” this is not by any means an action film but it is engaging and appealing most to historians and Day-Lewis’s fan base. Day-Lewis’s astounding performance, made complete with authentic hair and makeup, is by far the best thing about the somewhat rambling, stagey film. The costumes, the sets and production design and music are all first-rate as well, and among the rest of the large cast, Jones is most memorable for his excellent, winning turn as abolitionist Stevens, who also worked hard to pass the bill, and Fields is also strong as the emotionally fraught Mrs. Lincoln. Aside from the aforementioned, also watch for James Spader, John Hawkes, Tim Blake Nelson, Bruce McGill, Gloria Reuben, Jared Harris and Jackie Earle Haley, all of whom get in a good scene or two. Lincoln’s monologues and folksy stories are also a treat; Spielberg’s reverential, tad preachy treatment has its drawbacks but overall “Lincoln” is a worthy, well-acted and generally satisfying effort.

Wes’s Grade: B+

A Late Quartet - B

Rated R, 105 minutes

Well-acted drama "A Late Quartet" is also soapy and pretentious

Christopher Walken

Classical music is the backdrop for the new drama "A Late Quartet," that's well-acted, often engaging and somewhat pretentious. A bit soapy and melodramatic, the actors keep you watching even though you may not care much about these characters. Set in iconic New York City, this is the story of four musicians, bound together by their passion for music and long years of working together. But when their patriarch Peter (Christopher Walken) is diagnosed with a terminal illness, the repercussions hit the group deeper than they could imagine. First and second violinists Robert (Philip Seymour Hoffman) and Daniel (Mark Invanir) row over first chair, Robert and violist Juliette's (Catherine Keener) marriage hits the rocks when he has an affair, and their headstrong daughter embarks on her own explosive affair - with Daniel. As their 25th anniversary performance looms, the musicians must either find a way to overcome their troubles, and preserve their legacy - or part ways forever. The A-list cast and the music is the best thing about the glossy "A Late Quartet," which hits mostly harmonious notes both musically and emotionally. Directed and written by documentarian Yaron Zilberman in his feature film debut, sometimes it feels like "As the World Turns" for the music set, but the cast, with Walken in particular, make it watchable. Speaking of which, it's nice to see Walken playing a normal, low-key, non-psychotic person struggling to keep his life and musical career going. It's an unusually pensive performance for the acclaimed actor, but it's the highlight of the film; all the actors perform well, including Hoffman, Keener and Israeli character actor Invanir. The music of "Quartet" is also quite nice, though its script seems to struggle with the pretentions of something like (truthfully, I'm not sure I care who is first chair or second chair violin but that is a major plot point). Overall, a serviceable character study and auspicious debut for Zilberman, though it may not mean as much if you're not into the music.

Wes's Grade: B

Skyfall - B+

Rated PG-13, 143 minutes

Rollicking, entertaining Bond back with a bang in latest entry, "Skyfall"

Daniel Craig is back as Agent 007

It's been a wait, but James Bond is back with a bang in the crowd-pleasing newest film, "Skyfall," an overlong but vastly entertaining entry held together by its stars and director. Bond's (Daniel Craig) loyalty to M (Judi Dench) is tested as her past comes back to haunt her. As MI6 comes under attack by a former MI6 operative Raoul Silva (Javier Barden), 007 must track down and destroy the threat, no matter how personal the cost. "Skyfall" is the 23rd Bond film and arrives in time to celebrate the 50th Anniversary of the series, and it does so with style and panache, with Bardem in particular as a delectably evil and memorable villain. "Skyfall" is one of the better recent Bond films, and of the Daniel Craig films, "Casino Royale" is still my favorite though this one is far more intriguing, and filled with many nice touches and homages to the series, including the classic car (shown above) and other references that fans will certainly pick up on. It helps that "Skyfall" is helmed by an astute, talented director in Sam Mendes of "American Beauty" and "Revolutionary Road," an interesting choice given Mendes' history of more intimate, independent films. On that note, he brings an intimate quality to "Skyfall" that brings out Bond's backstory yet also helmes the action scenes with particular skill, including a breathtaking, stunning opener that's one of the series' best. The cast is also top notch, including Craig in the title role; with scruff and fitted, gray suit, he continues to bring a hard-edged, soldier-like quality to the role and less of the stylized romanticism of earlier Bonds, and he's much better here than in the previous darker, downbeat installment, "Quantum of Solace." Oscar-winner Bardem, in blond hair, brings a creepy, engaging swagger to the Silva villain role, even though he doesn't appear until well an hour into the film. Naomie Harris is a sweet, helpful Moneypenny, Ben Whishaw a wistful Q, Dench a stalwart M and in what will be the film's most controversial part, Ralph Fiennes carries on an important role in this franchise. Speaking of which, some will find the finale a bit sad, but Craig, Dench, Bardem and in a small but gregarious turn, Albert Finney, utilize the Scottish scenery quite well. "Skyfall" goes on a little too long, particularly in the last act when it delves into Bond's childhood, but it's entertaining and swift enough you might not notice; by the way, the jazzy theme song by Adele is a huge treat that opens the film. An enjoyable, rollicking entry in the series with more character than gadgets, the pleasing "Skyfall" has enough action that it will both shake and stir you.

Wes's Grade: B+

The Details - C

Rated R, 91 minutes

 "The Details" a mediocre, dark comedy about raccoons and marriage

Elizabeth Banks and Tobey Maguire

"The Details" is an appealing, mildly enjoyable but flat and forgettable dark comedy that largely wastes a talented cast who seem to be going through the motions. After ten years of straight-laced marriage, Jeff and Nealy Lang (Tobey Maguire and Elizabeth Banks) have an idyllic suburban home... and a relationship on the skids. Things only get worse when some raccoons ransacks their perfectly manicured backyard and Jeff becomes single-mindedly obsessed with eradicating the pests any way possible. Soon the relentless rodents aren't merely uprooting the lawn, but also overturning the Langs' entire bourgeois existence, as the man-versus-beast battle leads into an absurd mess of infidelity, extortion, organ donation and other assorted mayhem. Directed by Jacob Aaron Estes and filmed in 2010, "The Details" is a well-meaning, well-cast but forced comedy that falls short of imparting a coherent message, it's uneven script chases too many rabbits. Banks and Maguire make for a believable couple, though they both come across as vastly unlikable. There's a host of stellar talented A-list actors, some who are warm (Dennis Haysbert, Kerry Washington), while others are woefully underwritten (Ray Liotta) or annoyingly shrill (Oscar-nominee Laura Linney). "The Details" has a few fun moments watching Maguire go through an early mid-life crisis and chase some raccoons, but it otherwise tinges with a smarmy dullness.

Wes's Grade: C

Smashed - B

Rated R, 85 minutes

Well-acted, downbeat and familiar "Smashed"

Mary Elizabeth Winstead and Octavia Spencer

"Smashed" is "Days of Wine and Roses" updated for contemporary times. A story about an alcoholic couple and one of them attempting to get help, it's a vivid, if not depressing and low-key, look at what alcoholism does to relationships. Kate (Mary Elizabeth Winstead) and Charlie ("Breaking Bad's Aaron Paul) like to have a good time. Their marriage thrives on a shared fondness for music, laughter . . . and getting smashed. When Kate’s partying spirals into hard-core asocial behavior, compromising her job as an elementary schoolteacher, something’s got to give. But change isn’t exactly a cakewalk. Sobriety means she will have to confront the lies she’s been spinning at around her and her troubled relationships. Winstead's tour-de-force, breakout performance is the highlight of "Smashed," which strikes a familiar chord, albeit an affecting one. Directed and written by relative newcomer James Ponsoldt in his second feature film, it's realistic and efficiently told, though some of it, especially in the early-going, is a bit redundant. What makes "Smashed" memorable is its premise: two drunkards and one wants to get better, what happens then? As the other drunkard, Emmy-winner Paul is also affecting as the husband who may be Kate's real problem. Watch for "Parks and Recreation'" Nick Offerman and Oscar-winner Octavia Spencer in small roles as those trying to help Kate. This makes an interesting companion piece to this week's heavy-hitting "Flight," which explores similar issues.

Wes's Grade: B

The Man With the Iron Fists - C-

Rated R, 95 minutes

Predictably violent and over the top "Iron Fists"

RZA

What do you get when you have a marital arts film directed by and co-starring acclaimed rapper RZA, co-written and produced by horror master Eli Roth and also featuring Oscar-winner Russell Crowe and Lucy Liu? A bloody, dumb and over-the-top entertaining mess of a movie that's what. In nineteenth century China, The Blacksmith (RZA) is forced to create elaborate weapons of death for a small village. When a traitor threatens to destroy the village, he joins both warriors and assassins to protect their community. Egregiously violent, badly acted and otherwise shoddy, "The Man With the Iron Fists" is guilty-pleasure entertainment, especially with the odd addition of Crowe, who still manages to look great and kick some booty along the way. With RZA helming the film, it's also understandable the film's most memorable selling point outside the violence is the rap/rock-infused soundtrack that's sure to become a best-seller. Filmed entirely on location in China, not a bit of it is plausible, but then it's not meant to be either; the martial-arts scenes, which include some CGI added in post-production, are enjoyably well-staged and sure to please those who enjoy this type of thing. "The Man With the Iron Fists" may be worth a look for martial arts fans just know it's crazy violent and crazy stupid.

Wes's Grade: C-

The Sessions - B+

Rated R, 98 minutes

The superbly acted, touching "The Sessions" a must-see

Helen Hunt and John Hawkes

If all therapists looked like Helen Hunt, I'd be in therapy all the time. "The Sessions" is a funny, poignant look at a rather unique client-therapist relationship. Based on the poignantly optimistic autobiographical writings of California-based journalist and poet Mark O'Brien (played by John Hawkes), "The Sessions" tells the story of O'Brien, a polio survivor confined to an iron lung who is determined - at age 38 - to lose his virginity. With the help of a lovely sex therapist (Hunt) and the guidance of his priest (William H. Macy), he sets out to make his dream a reality. Sweet, sexy and funny, "The Sessions" is one of the year's more memorable films, with excellent turns from both Hawkes, reminiscent of Daniel Day-Lewis's "My Left Foot," and Hunt, in a particularly soul-baring, brave performance. Both will likely and rightfully earn Oscar nominations for their strong turns here, in a film that is more than about sex. Based on the true story of O'Brien (who died in 1999), the film's plot is a familiar triumph-of-the-human-spirit type that Hollywood (and the Oscars in particular) seem to enjoy. But Hawkes and Hunt imbue "Sessions" with such a sweet, funny sense of humanity it's quite touching (and in some cases deeper than you might expect) and entertaining. The vastly enjoyable "The Sessions" is a must-see for the the performances, especially Hunt, who is still stunningly beautiful at age 50. For more on O'Brien, also check out the Oscar-winning 1996 documentary short "Breathing Lessons: The Life and Work of Mark O'Brien."

Wes's Grade: B+

Wreck It Ralph - B+

Rated PG, 120 minutes

Colorful, imaginative “Wreck It Ralph” a fun time

Ralph

Disney scores again with the winningly amusing and original new animated feature “Wreck It Ralph,” its best animated feature this year and featuring numerous cameos from a number of popular video game characters. Though it’s geared for the kids, it’s likely to stir many good memories for adults. Ralph (John C. Reilly) is tired of being overshadowed by Fix-It Felix (Jack McBrayer), the "good guy" star of their game who always gets to save the day. But after decades doing the same thing and seeing all the glory go to Felix, Ralph has had enough of being the bad guy. He sets off on a game-hopping journey across the arcade through a myriad of different video games to show he’s a true hero. On his quest, he meets the tough-as-nails Sergeant Calhoun (Jane Lynch) from the game Hero's Duty and feisty glitch Vanellope von Schweetz (Sarah Silverman) from the candy-coated cart racing game, Sugar Rush, all of whom are threatened when a deadly “cybug” is unleashed that threatens the entire arcade. Directed by “The Simpsons” animator Rich Moore in his feature debut, “Wreck It Ralph” finds itself in a unique position, with a better story, animation and characters than Pixar’s recent effort, the dull “Brave” from earlier this year. The funny and vastly entertaining “Ralph” is too long and as typical with some of these efforts, some of the humor (not to mention all the video game references) will probably be lost on the young ones, but there’s still a lot to like. Reilly is perfect as Ralph, as is McBrayer and especially Lynch as the tough Calhoun, a genuine feminist video game hero. On the downside, it becomes a little confusing as the characters pop from game to game, and slightly annoying in the Sugar Rush game (though that may be the point), and comedian Silverman, while fun, also may rub against the nerves a little. But overall, it’s a great, fast-paced effort, with many unique touches to make it appear video-game-esque, not to mention all the amusing video game character cameos, from Bowser (“Super Mario Bros”), to Pac Man and company, Q-bert, Frogger, Dig Dug and many others. The enjoyable and energetic “Wreck It Ralph” is one of Disney’s better recent animated films and also includes a pleasant black-and-white animated short “Paperman.”

Wes’s Grade: B+

Flight - A-

Rated R, 139 minutes

Washington’s brilliant performance the highlight of the heavy “Flight”


Denzel Washington

The darkly entertaining new Robert Zemeckis drama “Flight” that succeeds due to the brililantly towering performance of its lead, Denzel Washington in one of his best performances in years as an alcoholic, substance-abuse prone pilot. Zemeckis, Oscar-winning director of “Forrest Gump,” returns to his first strictly live-action drama in a dozen years (since the Tom Hanks drama “Cast Away”), and it's a gritty character study that's sure to net Oscar-winner Washington more accolades for his most complex role in years. Washington plays pilot Whip Whitaker, a pilot who becomes the subject of an investigation after an amazing emergency landing and crash that saves many on board. Whitaker, who has struggled with alcohol and chemical dependency for years, becomes a target when the investigation team, including a pilot rep (Bruce Greenwood) and an attorney (Don Cheadle), learn he had alcohol and drugs in his system at the time of the accident, a discovery that could that him in prison. The internal struggle of “Flight” makes for heavy but engaging, poignant viewing, with both Zemeckis and Washington, who make for a fine cinematic team, at the top of their game. Washington, as the pilot with some clear issues, carries the slightly overlong film in a great, nuanced turn, yet he’s ably supported by Cheadle, Greenwood, British TV actress Kelly Reilly, Oscar-winner Melissa Leo (in what amounts to a cameo) and in the film’s flashiest role, John Goodman, who pops in and out in a memorable role as one of Whitaker’s enablers. Though it’s weighty, dark subject matter, John Gatins’ tight script is more optimistic in the last act, but it also reflects the honesty of the character, which is a refreshing change. Zemeckis, who’s been directing performance capture/animated films over the last decade, shows his skill for strictly live-action and dramatic, though his technical prowess comes in handy in the thrilling plane crash at the beginning of the film. It goes on a tad too long, but the vastly entertaining “Flight” is a must-see and it’s certainly one of the best of the year.

Wes’s Grade: A-

Cloud Atlas - B

Rated R, 164 minutes

Heady but entertaining "Cloud Atlas" is a wild ride

Tom Hanks and Halle Berry

“Cloud Atlas” is a heady, pretentious and overlong head trip that somehow still manages to entertain, thanks to an A-list cast and a set of directors who keep the action moving. From Andy and Lana (formerly Larry) Wachowski, who helmed “The Matrix” series of films and Tom Tykwer, who directed the art-house classic “Run Lola Run,” the epic, ambitious film is based on an equally heady 2004 fantasy science-fiction novel of the same name by David Mitchell that spans continents, centuries and even planets. “Cloud Atlas” explores how the actions and consequences of individual lives impact one another throughout the past, the present and the future. There are six stories interweaved together, from the remote South Pacific in the 19^th Century, to a post-apocalyptic future. It includes Adam Ewing (Jim Sturgess), a notary stuck on a ship in 1850 and poisoned by a doctor (Tom Hanks); a young musician in Belgium (Ben Whishaw), writing letters to a friend and is the apprentice to a famous composer (Jim Broadbent); Luisa Rey (Halle Berry), an brave investigative journalist uncovering corruption at a nuclear power plant; Timothy Cavendish (also Broadbent), an elderly publisher fleeing gangsters and is confined in a nursing home; in the future in Neo Seoul, a clone (Zhou Xun) who becomes embroiled in a rebellion; and post-apocalyptic Hawaii, when two people from very different societies (Hanks and Berry) some strangely connected. “Cloud Atlas” a very ambitious film that’s both intriguing and entertaining, and bloated and baffling, all at the same time, not to mention much more violent than you might think. The problematic, overstuffed narrative is a bit all over the place, trying to tackle too many issues (everything from racism to religion to economy), a weakness inherent in the Wachowski’s from their “Matrix” days. The film is best when it entertains, and it does so frequently, though it could’ve been trimmed considerably. The able cast plays multiple roles, some of which you have to watch closer for than others; Hanks and Berry ground the film well but unsurprisingly it’s the lesser known actors or the bad guys who make the biggest impression. Chinese actress Xun is the biggest revelation here as the young clone, while as the bad guys, Hugh Grant and Hugo Weaving (giving it a "Matrix-y" feel to it) are deliciously funny (yes that's Weaving in full drag in one sequence). Some sequences work better than others too (the Cavendish and the letters stories, while affecting, could’ve been trimmed while the futuristic section is most entertaining). “Cloud Atlas” is an enjoyable, entertaining film on many levels and quite pretentious on many others; the music, sets, special effects and makeup are all first-rate and make for a memorable movie-going experience. “Cloud Atlas” tries too hard to say too much, but it’s best to see beyond its heavy messages and just be entertained. One of the year’s more interesting films for sure.

Wes's Grade: B