Madea's Witness Protection - D

Rated PG-13, 114 minutes

"Madea's Witness Protection" shows Perry at his worst

Tyler Perry as Madea

"Madea's Witness Protection" is a first for several reasons. It's the first Tyler Perry and Madea movie to be released in the summer. It's also the first Madea film not based on a play. It also happens to be one of Perry's worst in some time, which isn't saying a lot given his track record of popcorn films strictly made for his following. Madea's always good for a laugh or two but this is otherwise a badly executed, painfully unfunny vehicle that shows Perry's flaws as a filmmaker. This one is about George Needleman (Eugene Levy), a clueless executive of an investment firm who is shocked to learn that his firm has been operating a mob-backed Ponzi scheme, and that he's been set up as the fall guy. Facing criminal charges and death threats from the mob, George and his entire family are put under witness protection in the safest place that federal prosecutor Brian (Tyler Perry), can think of: his Aunt Madea's (also Perry) house down South. If you think you know where "Madea's Witness Protection" is going, well you're right and you're wise to avoid this unpleasant, woefully unfunny movie. Perry gives himself the best scenes and the best lines as the over-the-top Madea, played in his usual very broad comedic style. You'd think that talented, award-winning actors like Levy and Doris Roberts (as George's mother) would shine above the material, but they're wasted here, and any film relying on Denise Richards and Tom Arnold (you read that right) for laughs is in deep trouble. The sloppy, listless "Madea's Witness Protection" blurs the line between unfunny and just plain unwatchable (and seems very rushed given how bad the scenes look); this only shows that the talented Perry is also very smart by releasing a Madea movie in the summer. Madea's now his cash cow for all seasons. A huge disappointment even by Perry's standards.

People Like Us - B+

Rated PG-13, 110 minutes

"People Like Us" a sincere, touching portrait of being family

Chris Pine and Elizabeth Banks

There are times we love our family and other times not so much, especially when mistakes are involved. "People Like Us" is a genuinely moving portrait of the complexities of family relationships. The film stars Chris Pine ("Star Trek") as Sam, a twenty-something, fast-talking salesman, whose life begins to unravel when his estranged father dies after an illness. He goes home to help his distant mother (Michelle Pfeiffer) manage his father's estate and in the process uncovers a startling secret. He has a 30-year-old sister Frankie whom he never knew about (Elizabeth Banks). As their relationship develops, Sam is forced to re-examine his family relationships and own life choices in the process. The new dramedy "People Like Us" is a poignant, superbly acted look at the ups and downs that families go through. The film is an auspicious debut of producer and screenwriter Alex Kurtzman ("Star Trek," "The Proposal"). Kurtzman, whose known more for action movies and who also writes this film, has a remarkable insight into sincere human emotion, garnering excellent performances from the leads. While Pine is solid, it's both Banks and Pfeiffer (who interestingly don't share any scenes together) who are pitch-perfect in Oscar-worthy roles as Mom's who have to make/have made some difficult decisions. Pfeiffer in particular is a standout in a supporting role who has the film's most touching scene with Pine. Even with that, "People Like Us" isn't perfect. It falters somewhat when it veers off into a couple of unnecessary subplots about Sam's work and it takes much too long for him to finally say what he has to say, but for the most part the film works remarkably well. The memorable, energetic music by Oscar-winning composer A.R. Rahman ("Slumdog Millionaire") also adds some enjoyment to what could've been a very maudlin subject matter. The last act is its most touching, and you'll want to have tissues handy when they get out the old home movies in the film's final scene.  Much like family, "People Like Us" isn't perfect, but it's a sincere, stirring look at the importance of family, however shape and form that takes. Definitely worth a look.

Ted - B-

Rated R, 106 minutes

Ted and Mark Wahlberg

Raunchy & enjoyable "Ted" also has heart

Do teddy bears have real heart? Maybe not in real life, but in the new comedic fantasy, "Ted," they sure do. Directed, written by and co-starring "Family Guy" star and creator Seth MacFarlane, the busy but entertaining "Ted" seemingly appeals to the lowest common denominator, and those who enjoy filthy, offensive comedy will get a kick out of it. Yet there's a decent message behind all the familiar schtick that MacFarlane and company throw at you - and what you've heard is true - the teddy bear is cute, cuddly and very foul-mouthed (and not for kids). John Bennett (Mark Wahlberg) is a perfectly normal Boston native whose childhood wish for his teddy bear to come to life comes true. The bear, Ted (voiced by MacFarlane), who has become famous in the process, remains his best friend into his adult years. Conflict emerges when Ted's irresponsible and vulgar, slacker lifestyle comes in the way of John's attempt to embrace adulthood and his love-interest Lori (Mila Kunis). MacFarlane, whose off-color, somewhat mean-spirited humor has served him well with "Family Guy," "American Dad" and other TV shows, makes his big screen debut as director and writer of the guilty-pleasure, exceedingly raunchy and predictable "Ted," which also provides more laughs and warmth than you may admit to. On the upside, there's plenty of laughs, quick wit and a surprising amount of poignancy to it. On the downside, the film has a sitcomy-"Family Guy" formula to it, unsurprising given MacFarlane's past TV experience, and often it seems that Brian the dog has been reincarnated as a big-screen, drug-addicted and lazy teddy bear. MacFarlane also brings some of his "Family Guy" actors to "Ted," including Kunis (who voices Meg on the show) as one of the leads, who makes an altogether pretty couple with Wahlberg, both of whom have a good time here.  I'd like to see MacFarlane branch out to other areas of comedy, but he knows his formula and he sticks to it well, such as throwing out plenty of pop-culture references he's known for, including amusing cameos from the '80s version of "Flash Gordon" Sam Jones, who is (still) remarkably recognizable as well as Ryan Reynolds and singer Norah Jones. With MacFarlane doing duty as director, producer, writer and voice of "Ted," it comes as no surprise that the teddy bear has the best lines, most of which aren't printable here. The last act of "Ted" is its weakest: you know where it's going, though it's best if you just go with it and forget you're watching a talking teddy bear. "Ted" is far from dull and enjoyably raunchy but certainly not for the younger set.

Magic Mike - C+

Rated R, 110 minutes

Firm bods, flimsy story highlight the uneven "Magic Mike"

Channing Tatum and Alex Pettyfer in "Magic Mike"

The G-strings in the new male stripper film "Magic Mike" hold up plenty, except for the weak story that drags down an otherwise charming, beefcake-filled and estrogen-geared flick. "Magic Mike" is directed by Oscar-winning director in Steven Soderbergh and is loosely based on the life of actor Channing Tatum ("The Vow"), who headlines the film. The movie follows Mike (Tatum) as he takes a young, inexperienced dancer off the streets named Adam the Kid (Pettyfer) under his wing and schools him in the fine arts of partying, picking up women, and making easy money. Story? Characters? Not so much here but one thing is for sure, there's plenty of eye candy in the uneven but pleasant "Magic Mike," which is likely enough for most. Besides Tatum and Pettyfer, Matthew McConaughey appears as the strip club owner, aptly named Dallas, along with Matt Bomer, William Levy and "True Blood's" Joe Manganiello. However, no pun intended (well, maybe), when you strip away the beefcake, there's little meat to the plot or characters, which may not come as a huge surprise. The film's initial sections work best and the most fun, as Mike (with some interesting help from McConaughey, in the film's best scene) schools young Adam on the fine art of stripping, before it meanders in the darker, drug-fueled second half and leading to an unsatisfying ending. Soderbergh is typically a strong director, but with "Magic Mike" his direction is merely serviceable though the thin material may be the real problem. While he handles the actors well, with Tatum in particular giving one of his stronger, least bland performances to date, he falters in bringing the story to a satisfying conclusion but in his favor the film would've been a lot worse with an inexperienced director. I did want to see more of the women, especially the lovely Olivia Munn ("Iron Man 2"), but she and Cody Horn are (perhaps understandably) underused here. "Magic Mike" does a memorable striptease on the surface, though it falters in bringing to light what's really underneath. Worth it if you like this sort of thing.

Seeking A Friend for the End of the World - C

Rated R, 101 minutes

Sweet but uneven "Seeking a Friend for the End of the World" comes up short

Keira Knightley and Steve Carrell

"Seeking a Friend for the End of the World" is an unsatisfying, oddlyl amusing look at lonely people trying to find love at the last minute, seemingly Earth's last minute. Directed by Lorene Scafaria (screenwriter for the fun "Nick and Nora's Infinite Playlist") in her feature debut, it's a rather bizarre mix of comedy and drama: the film's tone starts out rather depressing then turns into an overly sentimental tale of lost love. Set in a too-near future, the movie explores what people will do when humanity's last days are at hand. When news breaks that a laser, sent to space to protect Earth from an asteroid impact has failed at its mission, Dodge (Steve Carrell) hits the road in search of his high school sweetheart, accompanied by Penny (Keira Knightley) As the respective journeys of Dodge and Penny converge, the two spark to each other and their outlooks - if not the world's - brighten. "Seeking a Friend for the End of the World" is a sweet but sloppy tale that almost wins you over from the engagingly pensive turns of Carrell and Knightley and without them the movie would be much worse than it is. There are a handful of genuinely funny, touching moments, but by and large this is a flavorless tale that's as memorable as a can of Tab. Scafaria's debut as a director shows in the inability to effectively stage scenes, not to mention a big emotional payoff; yet the fact that "Seeking a Friend" has enough caring moments that it isn't a total failure means that she has a future behind the camera. "Seeking a Friend for the End of the World" has a handful of sweet moments, but you won't remember much after it all ends.

Brave - B-

Rated PG, 93 minutes

Uneven but exciting "Brave" features colorful, sublime visuals

"Brave" is the first Pixar feature to have a female lead

It wouldn't be summer without a Pixar movie, and their new effort "Brave," their 13th animated CG film and for the first time featuring a female in the lead, finally arrives in theaters with much anticipation. Pixar is known for creating animated films with a balance of stunning visuals and heartfelt storytelling, but "Brave" is not on the same level of say "Up" or "Toy Story"; it has breathtaking visuals yet a weak, craggy story that flounders a bit. It's not terrible, but I do wish a more touching story could have been crafted around such a beautiful, distinctive heroine. "Brave" is about Merida (Kelly MacDonald), a skilled archer and impetuous daughter of Scottish King Fergus (Billy Connolly) and Queen Elinor (Emma Thompson). Determined to carve her own path in life, Merida defies an age-old custom sacred to the uproarious lords of the land: finding a suitor. Merida's stubborn actions inadvertently unleash chaos and fury in the kingdom, and when she turns to an eccentric old Witch (Julie Walters) for help, she is granted an ill-fated wish. This forces Merida to discover the meaning of true bravery in order to undo a beastly curse before it's too late. "Brave" is an enjoyable, sprightly amusing fairy tale with a charming, tough heroine in bushy-haired Merida, yet the story, for once, is the weakest thing about this Pixar effort. Though it's far from dull, the uneven tone has trouble finding its footing between spry, comical amusement and the dark elements of the fairy tale; "Brave's" assortment of writers and change in directors (Brenda Chapman directed some early one but was replaced midway through by Mark Andrews, and both are credited as co-directors and writers) certainly contribute to the uneven pacing. "Brave" doesn't lack in excitement or fun, and the visuals are still scrumptiously bright and detailed, even if the story lacks the intelligence and emotional heft of other Pixar features. On that note, it may be a disappointment, but "Brave" is still a pleasant, enjoyable time for the young set.

Your Sister's Sister - B

Rated R, 90 minutes

Unconventional but affecting "Your Sister's Sister"

Mark Duplass, Emily Blunt and Rosemarie DeWitt

"Your Sister's Sister" is definitely not your typical romantic comedy. Touching, unconventional and well-acted, it's also a talky, low-key character study from director Lynn Shelton ("Humpday") and starring Emily Blunt, Mark Duplass and Rosmarie DeWitt.  Duplass (also seen in the hilarious "Safety Not Guaranteed" in current release) is Jack, still emotionally fragile following his brother's death a year ago. His brother's former girlfriend Iris (Blunt) sends him off for "alone time" to her Dad's lake house. However, when he gets there, he discovers Iris' older sister Hannah (DeWitt) is also there and nursing a wounded heart with a bottle of tequila. A drunken night leads to a regrettable intimate encounter, but they're quite surprised when Iris, who also may have feelings for Jack, arrives the following morning and unravels an unexpected triangle. Writer and director Shelton has created an amusing, heartfelt story in "Your Sister's Sister" (technically half-sisters but "Your Sister's Half Sister" doesn't have that same ring to it) with an uncommon premise that's told in a very straightforward fashion. The film is essentially a three-person, three-act play; its stagey formatting nearly works against it in "Truth or Consequences" fashion but this is a perfect example of how talented actors bring the story to life and connect the audience to the film. All three actors play off each other beautifully and make the characters more palpable than even Shelton had likely imagined; Duplass is the standout with a believable portrayal of an emotionally wounded slacker who needs to deal with his life; DeWitt is also superb as the older, cynical lesbian sister with a motive, while Blunt anchors the film memorably as the sister caught in the middle. With that said, the strong performances are the highlight of "Your Sister's Sister," a flawed but satisfying (except for the cliffhanger ending that leaves you wanting more) and sincere tribute to the weird, unplanned things in life.

Abraham Lincoln: Vampire Hunter - B

Rated R, 105 minutes

This rousing, clever "Lincoln" is bloody, over-the-top fun

Benjamin Walker as "Abraham Lincoln: Vampire Hunter"

"Abraham Lincoln: Vampire Hunter" reshapes history as never before, turning one of our most beloved politicians into a studly, vampire-killing machine. Based on the fictional mash-up novel of the same name by Seth Grahame-Smith, the handsome, striking production is as entertaining and clever as it is utterly preposterous. Directed by Timur Bekmambetov of "Wanted" fame, the film tells the story of how young Abe Lincoln encounters his first vampire at age 11, when one kills his mother and he pledges lifelong revenge for his mother's death. As Lincoln grows into a man (played by newcomer Benjamin Walker), he meets Henry Sturges (Dominic Cooper), who becomes his mentor in the way of vampire killing. As Lincoln rises to power as President, Lincoln soon realizes there's a larger war at hand as some vampires led by Adam (Rufus Sewell), who want to use American slavery to enslave mankind as a whole. "Abraham Lincoln: Vampire Hunter" is a refreshing, enjoyable take on the Lincoln legend with some striking visuals that make it easier to swallow the ludicrous plot. The film's initial chapters are strongest and burst with the same type of energy as Lincoln learns his power and strength in the same way a superhero such as Spider-Man did. It also helps that Walker, a relatively untested actor, uncannily resembles a young Lincoln and makes for inspired casting in the lead role; Cooper is also memorable as Lincoln's partner Henry, who has some secrets of his own. Bekmambetov, who handled the impressive visuals in "Wanted," does an equally sublime job here, making up for the weak second act, a disconnected villain and a too-ambitious plot that varies considerably from the book. Yes, this is all pretty violent too, but combined with Bekmambetov's strong visual flair, it's the chief reason to see the charming, enjoyable "Abraham Lincoln: Vampire Hunter," which is terrific fun as long as you don't take it too seriously.

Lola Versus - C+

Rated R, 89 minutes

Greta Gerwig (left) and Joel Kinnaman (right)

Gerwig is best thing about the pleasantly forgettable "Lola Versus"

With distinctive mannerisms and a crooked smile, Greta Gerwig could easily be screen's next new it girl, too bad the pleasantly slight new rom com "Lola Versus" isn't near as original. Gerwig is the titular character, 29-year old New York City grad student Lola, whose soul mate Luke (the new "Robocop" Joel Kinnaman) dumps her a few weeks before their wedding. With the help of her best friends Alice (Zoe Lister-Jones) and Henry (Hamish Linklater) and others, she has to pick up the pieces and move on with her life as a single woman approaching her thirties. Gerwig is lovely but "Lola Versus" is an otherwise unrevealing, predictable look at relationships that could easily be a junior-grade "Sex and the City" with Lola as another version of Carrie Bradshaw. Lola encounters some oddball characters through her romantic endeavors, the film just doesn't say or do much with them, though it should be noted the film's brave ending is a notch above some in this genre. As for the rest of the cast, the most memorable is Lister-Jones as Lola's best friend, who also is the film's co-screenwriter and likewise gives herself some of the wittiest lines (among them: "this is Yelp's top choice for a club in a dangerous neighborhood"). Swedish actor Kinnaman, on the verge of being a breakout star himself, is handsomely bland as her main squeeze and even nicer is seeing two familiar actors with a "been there done that" appeal, and as Lola parents, the underused Debra Winger and Bill Pullman have that likable quality. Gerwig and the cast have a playful energy that give "Lola Versus" a cotton-candy charm: an enjoyable piece of fluff you won't remember after it's gone.

Rock of Ages - C+

Rated PG-13, 122 minutes

Music the best part of the uneven rock-n-roll romp "Rock of Ages"

Tom Cruise is fictional rocker Stacee Jacks in "Rock of Ages"

The fun new musical "Rock of Ages" isn't really all that new. It's based on the Broadway hit of the same name and is filled with many familiar, rousing rock tunes of the '70s and '80s. Definitely a crowd pleasing, popcorn film, the disjointed "Rock of Ages" has a star-studded cast along with a couple of new faces. The weak, wildly uneven story is held together, unsurprisingly, by the music and the magnetic performances of a few cast members, especially Tom Cruise and my personal favorite, R&B diva Mary J. Blige. "Rock of Ages" tells the story of small town girl Sherrie (Julianne Hough) and city boy Drew (newcomer Diego Boneta), who meet on the Sunset Strip in 1987 while pursuing their Hollywood dreams. Their rock 'n' roll romance is told through the heart-pounding hits of Def Leppard, Joan Jett, Journey, Foreigner, Bon Jovi, Night Ranger, REO Speedwagon, Pat Benatar, Twisted Sister, Poison, Whitesnake and more. "Rock of Ages" is filled with energy and captures some of the essence of the big-haired 1980s, and it's directed by "Hairspray's" Adam Shankman, not that he does much, since the film's music is the central premise and without the sing-along familiarity of those enthusiastic songs, the film would be a lot worse. Given the huge, all-star cast including Catherine Zeta-Jones, Cruise, Blige, Baldwin, Russell Brand, Paul Giamatti, Malin Ackerman, Bryan Cranston and Will Forte, "Rock" is a disappointment: some of it works well (anything with Blige), while some of it doesn't (Giamatti's singing, the Baldwin-Brand subplot). The most interesting performance comes from the magnetic Cruise as star rocker Stacee Jacks, who is part charismatic and part-creepy, though in fact that is exactly the point of the character. Cruise's serviceable singing also helps, though the best-in-show comes from the dynamic performance of Blige, who blows the lid off the place and a little more as the owner of a strip joint who helps Hough's character. Hough herself is a little bland, newcomer Boneta much more memorable while Oscar-winner Zeta-Jones has a few fun moments as a mayor's wife. The entertaining, overlong and spastic "Rock of Ages" is OK, but the soundtrack is better.

That's My Boy - C-

Rated R, 110 minutes

Moronic and sexist, "That's My Boy" is better Sandler, sort of

Andy Samberg (left) and Adam Sandler (right)

Well, at least it’s better than last year’s “Jack and Jill.” That might not be saying much about the new Adam Sandler comedy “That’s My Boy” but it’s true. Tacky, sexist and with an offensively icky prologue, it provides more guilty-pleasure laughs than you care to admit.  Sandler is Donny Berger, a New England teen who fathered a son with his teacher, Mary McGarricle (Eva Amurri younger, her real-life mother Susan Sarandon older) who is sent off to prison while he becomes famous. His son Han Solo Berger (Andy Samberg) grows up, becomes a successful investor and changes his name to Todd Peterson,  and disowns him. But as Todd/Han is about to get married to his love Christina (Leighton Meester), Donny reappears hoping to get the $43,000 he needs to pay off the IRS to avoid jail. “That’s My Boy” is profane, exceeding immature and moronic (again, no surprise given its source) yet more watchable than some of Sandler's outings, and for several reasons.  First, he actually hired a different director and writer from many of his other films: it's directed by Sean Anders of “Hot Tub Time Machine” fame and written by David Caspe of TV’s spot-on funny “Happy Endings,” and both take Sandler out of his typically annoying, unfunny comic routines as of late (take note Dennis Dugan) and provide him with an actual plot (note to Sandler: no more goofy voices). Second, it pairs Sandler with the usually funny current “Saturday Night Live” vet Andy Samberg, and their inspired chemistry is the chief highlight of the film (favorite: piercing Sandberg’s ear). Third, it's filled with a large string of unlikely yet stellar supporting characters who nearly steal the film from the leads, including NFL coach Rex Ryan, Vanilla Ice, Todd Bridges, Ciara, Luenelle, Milo Ventimiglia and singer Tony Orlando (yes that Tony Orlando), not to mention James Caan, Susan Sarandon, Ian Ziering, Will Forte and many others. “That’s My Boy” goes on way too long, is very Rated R and certainly not for kids, particularly an uncomfortable subplot that occurs in the last act, but Sandler, who hasn’t been on any favorite list especially after the dreadful “Grown Ups” and “Jack and Jill,” recovers some of his comic mojo again. Even with that, “That’s My Boy" aims low and relies too much on sexist, gross-out humor to be recommended, but it's still better than Sandler's recent efforts, which is in fact, saying a whole lot.

Safety Not Guaranteed - B

Rated R, 85 minutes

Aubrey Plaza (above) in the new comedy "Safety Not Guaranteed"

Loopy and satisfying "Safety Not Guaranteed"

I'm hesitant in making gushy statements about movies such as "the best movie of the year! which can come back to haunt later in the year when truly better movies come out. Without being too critically gushy, the satisfying and unconventional new independent comedy "Safety Not Guaranteed" could be the summer's first sleeper hit. One thing is for sure, one of its alluring young leads, newcomer Aubrey Plaza, should have great things ahead of her. The film follows a loudmouth magazine writer ("New Girl's" Jake M. Johnson) and two interns (Plaza and Karan Soni) as they track down someone named Kenneth Calloway (Mark Duplass) who wrote an ad that goes: "Wanted: Somebody to go back in time with me. This is not a joke. You'll get paid after we get back. Must bring your own weapons. I have only done this once before. Safety not guaranteed." As the trio learn more about Kenneth, they realize he could be crazy, or in fact telling the truth. The low-budget "Safety Not Guaranteed" is a witty, oddball charmer of a movie that's based on an actual ad posted 15 years ago. The enjoyable film will be remembered for three things: 1) lovely newcomer Aubrey Plaza ("Parks and Recreation"), whose engaging, breakout turn reminds of a less monotone Janeane Garafolo; 2) the clever, original screenplay by newcomer Derek Connolly, whose chief strength is the amusing dialogue (and not the stereotypes it tends to rely on) and 3) the wholly satisfying, surprising ending you may not see coming which takes it to a new level of discovery. The cast as a whole performs well, including Duplass as oddball Kenneth; Duplass is also director of such other oddball vehicles such as "Cyrus" and "Jeff, Who Lives at Home" with his brother Jay, so he fits this eccentric character well. Directed by Colin Trevorrow in his feature debut, "Safety Not Guaranteed," which is essentially a metaphor for the risks the characters take, is an entertaining, unique take on life's unexpected pleasures.

Prometheus - B+

Rated R, 124 minutes

Scott returns to sci-fi with the exciting, visually stunning "Prometheus"

The engrossing, thrilling new science-fiction film "Prometheus" has been shrouded in secrecy, given that it's supposedly a prequel to the "Alien" series. It's also a visually stunning film that marks the return to sci-fi by original "Alien" and "Blade Runner" director Ridley Scott, and what a welcome return it is. Set in the late 21st century, the story centers on the crew of the spaceship Prometheus as they follow a star map discovered among the remnants of several ancient Earth civilizations. Led to a distant world and an advanced civilization, the crew seeks the origins of humanity, but instead discovers a threat that could cause the extinction of the human race. The crew includes Vickers (Charlize Theron), who is overseeing the expedition; Prometheus Captain Janek (Idris Elba), archeologist couple Shaw (the original "The Girl With the Dragon Tattoo" Noomi Rapace) and Holloway (Logan Marshall-Green) along with android David (Michael Fassbender). "Prometheus" is an ambitious yet electrifying thriller that marks an impressive return to form for Scott. The story, co-written by "Lost" scribe Damon Lindelof, has a slow start and seems to ask too many heavy questions (such as where do we come from?), seemingly opening up room for additional installments, but the pacing picks up in the mid-section and doesn't let go until the breathtaking finale. Rapace grounds the film well and makes for a great, new-generation Ripley, including an intense, uncomfortable scene that will remind you of earlier "Alien" installments. Theron, Elba and Fassbender are all solid, especially Fassbender, who has some of the best lines as the droid. The first-rate, handsome special effects, along with a great orchestral-heavy score, is the chief highlight for seeing "Prometheus," but unsurprising given Scott's penchant for memorable visuals. As for the secrecy surrounding all the "Alien" talk, that's answered with a bang in the final scene, which should make die-hard "Alien" fans very happy. Entertaining and satisfying, "Prometheus" is worth checking out.

Peace, Love & Misunderstanding - C

Rated R, 96 minutes

Fonda's fun in "Peace," but rest of it rings false

The only reason to give the mediocre, labored new dramedy "Peace, Love & Misunderstanding" a chance is to see screen legend Jane Fonda as a scene-stealing hippie. Though Fonda wasn't a hippie in real life, the 74-year old Oscar-winner revels in donning a long gray wig and plenty of flowery clothes, yet too bad this movie isn't as memorable. Directed by "Driving Miss Daisy's" Bruce Beresford, the film centers on Diane (Catherine Keener), an uptight New York City lawyer whose life unravels when her husband (Kyle Maclachan) asks for a divorce. She takes her teen son (newcomer Nat Wolff, charming) and her college student daughter (the ubiquitous Elizabeth Olsen) to visit their estranged hippie grandmother (Fonda) still living in Woodstock who hasn't quite grown up. Considering the talent involved, the formulaic  "Peace, Love, & Misunderstanding" is a disappointment: a choppy, predictable and forced film that's intent on quickly pairing everyone off romantically in the first act. The film's central premise is the biggest contrivance: why would an uptight lawyer going through a divorce take her kids to see her mother with whom she hasn't spoken to in 20 years? Though most of this rings false, the film does have its charming moments as Keener and Fonda are a serviceable mother-daughter screen pairing, and Fonda in particular seems to have fun parading around in the flowery dresses, smoking pot and spouting irrelevant '60s wisdom; though the wig and excessive tie-dye make for hippie overload, she hasn't enjoyed herself on screen this much in years. Outside of Fonda, Nickelodeon star Wolff is also charming as a boy who equally enjoys both girls and making movies, while Olsen and (the usually bland) Chace Crawford's romance is mostly annoying. Given how much fun Fonda has, I wish "Peace, Love & Misunderstanding" was a better movie, but it's a remarkably weak and forgettable effort.

Madagascar 3: Europe's Most Wanted - B-

Rated PG, 85 minutes

Splashy "Madagascar" is more of the same broad, silly gags for kids

I have to admit, I laughed more at "Madagascar 3: Europe's Most Wanted" than I care to admit, and I'm just a little out of the target demographic for the film. Colorful and forgettable, silly fun, "Madagascar 3" is indeed for the kiddoes, and keep that in mind when you see it, though adults might enjoy it too. Alex the Lion (Ben Stiller), Marty the Zebra (Chris Rock), Gloria the Hippo (Jada Pinkett Smith), and Melman the Giraffe (David Schwimmer) are still fighting to get home to their beloved Big Apple and of course, King Julien (Sacha Baron Cohen), Maurice (Cedric the Entertainer) and the Penguins are all along for the comedic adventure. Their journey takes them through Europe where they find the perfect cover: a traveling circus, which they reinvent - Madagascar style. The third entry in this popular animated series, "Madagascar 3" is nothing new or ambitious in terms of story-telling or animation, but it fulfills its purpose just fine: to provide a quick, enjoyable movie for the younger set and time-filler for parents. That's not a bad thing, and you've seen it before, this time rehashed for a European version; this gang (all of whom, especially Rock, seem to enjoy themselves) could easily fill more films by traveling to exotic locales across the globe. Directed by Eric Darnell, who helmed the previous versions, this installment adds some nice 3D touches and some snazzy circus stunts to keep the kids engaged not to mention a few new voices, including Martin Short, Bryan Cranston, Jessica Chastain and Oscar-winner Frances McDormand. Though chunks of its humor is still off-kilter and often mean-spirited (darn those pesky penguins), which will certainly fly over the heads of the younger ones, "Madagascar 3" is still decent, often amusing and splashy family-entertainment.

Moonrise Kingdom - B

Rated PG-13, 95 minutes

"Moonrise Kingdom" is the latest winsome Anderson quirkfest

I've always been a big fan of Wes Anderson, and not just because he's also a Wes from Texas who happens to be my same age. His films have a certain, eccentric look and feel to them, and his latest quirkfest, "Moonrise Kingdom" is no different and it's an enjoyable portrait of an eccentric early 1960s childhood. It's 1965, and two young pre-teen lovers Sam and Suzy (newcomers Jared Gilman and Kara Hayward, in their feature debuts) flee their New England town to be together, prompting a local sheriff (Bruce Willis), Suzy's parents (Bill Murray and Frances McDormand) and Sam's scout master (Edward Norton) to form search parties to locate them. "Moonrise Kingdom" is an enjoyable look at the oddities of growing up, parents and the things we must face in becoming adults and another unconventional look at human life from Texas director and writer Anderson. He's assembled one of his most eclectic casts in Willis, Murray, McDormand, Norton in addition to Oscar-winner Tilda Swinton, Harvey Keitel and Anderson regulars Jason Schwartzman and Bob Balaban, though the most memorable performances come from the young leads in their first movie, especially Gilman as the orphaned Sam. Some of the characters seem like filler (especially Swinton, Keitel and Schwartzman) not to mention the slight story is one of Anderson's weaker efforts. But like most of Anderson's efforts, you're drawn to the unconventional look and feel of the movie, which in this case captures the early 1960s very well. "Moonrise Kingdom" isn't Anderson's best effort but it's definitely an emotionally rich if not odd look, at childhood.

The Intouchables - B+

Rated R, 112 minutes
In French with English subtitles

"The Intouchables" is a well-acted, uplifting gem about unlikely friendships

"The Intouchables" is an uplifting, irreverent and superbly acted new French dramedy based on a true story that's one of the best foreign films released in the U.S. in 2012 (along with "My Way"). "The Intouchables," already one of the highest-grossing foreign films ever and a huge hit in France, it's about a handicap millionaire named Phillippe (Francois Cluzet), a tetraplegic who is in need of a new caretaker and hires an ex-con named Driss (Omar Sy) off the street. The two forge an unlikely friendship and help each other in remarkable ways as they get to know each other. Touching and inspiring, it and calculated down the stretch, but it's an immensely enjoyable time at the movies. The chief highlight is the chemistry and the excellent performances from the leads, Dustin Hoffman lookalike Cluzet, and particularly from Sy, a French comedian who gives one of the year's more memorable performances (he just beat out Oscar-winner Jean Dujardin for this year's Cesar Award, the French equivalent of the Oscars) as the street-wise Driss, who must adjust to a new job and lifestyle overnight. Co-directed and written by Frenchmen Olivier Nakache and Éric Toledano, it's a touching portrait of an unlikely friendship that isn't as sentimental as it sounds. Even if you don't care much for foreign films, "The Intouchables" is a satisfying gem of a movie that's worth your time.

Hysteria - B

Rated R, 95 minutes

Good vibrations can be found in the new comedy "Hysteria"

"Hysteria" isn't your average, predictable rom com, after all, it's based on a true story of the guy who invented the vibrator. Snicker if you must, but "Hysteria" (named after an old-age common misdiagnosis of women) isn't low-brow and doesn't star Adam Sandler, but a (no pun intended) feel good comedy about feeling good. The British cast includes Hugh Dancy ("Our Idiot Brother") as Dr. Mortimer Granville, the British doctor and scientist who patented the first electric version of the device, causing a stir in London in 1880. The opinionated doctor got the idea after working as an assistant to a doctor (Jonathan Pryce) who specialized in women's issues. The doctor he's working for has two daughters, the prim and proper one (Felicity Jones) and the very outspoken one (Maggie Gyllenhaal), causing even more problems after he invents the special device, which becomes a huge hit. "Hysteria" is an enjoyable romantic comedy with some fun jokes and feminist rhetoric thrown in for good measure. Some of it creates an uneven flow, but it's well-cast and well-acted by Dancy and Gyllenhaal, who have some nice chemistry together. I like that it plays it for laughs without becoming too dirty about it; "Hysteria" makes it point quite nicely without a great deal of nudity (the facial expression of the women is the chief highlight of the film). There's also nothing wrong with the feminist ideals and sexual liberation, but it seems unnecessary and redundant given that the subject matter itself is a tribute to women's sexuality. "Hysteria" is an entertaining, fact-based romp that's worth a look and a few laughs.

For Greater Glory - C+

Rated R, 143 minutes

Garcia best thing about affecting, overlong "For Greater Glory"

The new drama "For Greater Glory" is the epic new fact-based historical drama about the war for religious freedom in Mexico in the late 1920s. Essentially a Mexican "Braveheart," it stars Andy Garcia as the military leader who led the fight, and he is the best thing about the engrossing but overlong drama. Garcia is Enrique Velarde, a former general in the Mexican army helping lead the fight over religious persecution in late 1920s Mexico from Mexican President Calles (Ruben Blades, used well here). The epic, earnest drama "For Greater Glory," directed by "The Lord of the Rings" visual effects supervisor Dean Wright, is handsomely filmed on location in Mexico with Garcia headlining the cast as the stalwart general who wasn't a religious man. Veteran Peter O'Toole has a very small role as a priest while Eva Longoria cameos as Velarde's wife, but this is largely Garcia's movie and he has a couple of nice, climactic "Braveheart"-esque speeches to rally the troops. The battle scenes are impressively staged and the music from Oscar-winner James Horner (who, interestingly, also did the score for "Braveheart") uplifts. "For Greater Glory" is designed to inspire (especially Catholics) but it's too long and one violent scene involving a child may not set well with some (off-screen would have been better). Though a flawed film - it's unclear on the outcome of this specific war - "For Greater Glory" is an otherwise stirring tribute to those who fought the good fight for freedom, religious or otherwise.

Snow White and the Huntsman - B-

Rated PG-13, 127 minutes

Theron breathes life into this dark, enjoyable take on "Snow White"

In a movie about the fairest of them all, it's the evil queen who steals the show. "Snow White and the Huntsman" is the dark new version of the Grimm fairy tale that's vastly entertaining and held together by the delectably evil queen played by Oscar-winner Charlize Theron. There are some nice touches and others a little more odd, but most of it works remarkably well, albeit far, far different than the previous comedic version this year, "Mirror, Mirror" that had another Oscar-winner, Julia Roberts, in the role of the evil queen. In this story, the evil Queen Rivenna (Theron) has overtaken the land but soon learns from her Magic Mirror that she will soon be surpassed as the "fairest of them all" by her own stepdaughter, Snow White (Kristen Stewart). However, Snow White escapes to the dark forest and Rivenna summons a huntsman named Eric (Chris Hemsworth) to bring her back so she can steal Snow's heart. But Snow encounters seven dwarfs who help her lead a revolution to take back the land. "Snow White and the Huntsman" is a darkly entertaining version of the tale that's likely closer to the tone of the original Grimm tale but nothing like the Disney tale we've always known. Though it takes much of the romance out and it often plays like a version of "Snow White Meets Braveheart," it's held together with verve by Theron, wonderfully cast here as the mean queen and who holds the screen with force. Given the familiarity of the tale, we know all too well her fate, but her magnetic presence is overpowering and you miss her when she's not on screen. Stewart and Hemsworth are solid but overshadowed by Theron; Stewart is good but lacks the presence of a fair maiden though she certainly possesses the strength of a princess. In an odd bit of casting, the dwarfs are all played by familiar (and non-dwarf) character actors: Nick Frost, Ian McShane, Ray Winstone, Bob Hoskins, Toby Jones and Eddie Marsen among them, though this actually adds to the charm of the film. The sets, the costumes and the music (including a nice new song by rock group Florence and the Machine played over the end credits) are all first-rate. In a summer filled with sequels and superheroes, "Snow White and the Huntsman" is both refreshing and original. Definitely worth a look.