Sleepwalk With Me - B

Not Rated, 85 minutes

Birbiglia makes for a genuinely fresh, pleasant "Sleepwalk"

Lauren Ambrose and Mike Birbligia

Breakouts don't happen very often, but I forsee a nice career for likable comedian Mike Birbligia, who directs, writes and stars in the casually amusing autobiographical film "Sleepwalk With Me," about a struggling comedian making sense of his life. Low-key and appealing, "Sleepwalk With Me" is based on Birbligia's (also seen in HBO's "Girls") book and one-man stage play of the same name, which in turn are based on his own life. Birbligia plays a struggling, early 30s guy trying to figure out his life. He bartends and does occasional stand up at club and lives with his girlfriend of several years, Abby (the lovely Lauren Ambrose of "Six Feet Under"), though he's encouraged by his parents (James Rebhorn and Carol Kane) to do more with his life, not to mention he struggles with a sleep disorder that causes him to do unusual things. He finally gets a break and starts doing stand up full-time, giving a little balance to his career, though he's still unsure of his future with Abby. Birbligia is the perfect schlubby every man, who like many comedians, infuses his own life experiences into his onstage act; he's genuinely fresh and charming without the level of obnoxiousness that you often find in comedy these days. Birbiglia's best when being himself onstage or interacting with other characters but "Sleepwalk" doesn't work as well when he breaks the "fourth" wall and talks to the audience. It's a gimmicky move often used when the material is thin, and it typically doesn't work, and it particularly falters for a newcomer like Birbligia. "Sleepwalk" is probably better suited for the small screen, which Birbligia could easily transition to in the vein of Louis C.K. Even with its flaws, I liked "Sleepwalk With Me" and it showcases what could be a breakout performance from a genuinely agreeable and engaging comedian.

For a Good Time, Call... - B-

Rated R, 86 minutes

Spry, playful girl-buddy comedy “For a Good Time, Call…”

Ari Graynor, Justin Long and Lauren Miller

 “For a Good Time, Call…” is a well-worn but enjoyable comedy that’s a decent late-summer entry with less raunch and more heart than usual considering the premise. Katie (Ari Graynor of the recent “Celeste and Jesse Forever”) and Lauren (newcomer Lauren Miller, who also co-wrote the script) are two incompatible New York City roommates, their differences become more apparent with a disapproving Lauren learns of her roommate's occupation as a phone sex operator. However, after Lauren loses her job she joins forces with Katie to create a highly lucrative phone sex business. In the process of their venture, both girls start to become firm friends though a betrayal could threaten their friendship and their business. Though the story is predictable and comedy a little bland, you’ll have a good time with the pleasant, charming “For a Good Time, Call…” that’s a touching, brisk take on genuine friendship without all the raunch so prevalent these days in film comedy. The attractive, likable leads in Graynor and Miller, both underrated actresses, are the best thing about the heartfelt comedy, and Graynor in particular has a colorful comedic energy.  Justin Long, Mark Webber, James Wolk, and Mimi Rogers all contribute some fun moments in brief supporting roles, and watch for a couple of hilarious cameos from director Kevin Smith and Seth Rogen. “For a Good Time, Call…” is nothing new or groundbreaking, but it’s a remarkably playful, energetic take on female friendship.

Cosmopolis - D

Rated R, 108 minutes

Robert Pattinson

Odd, rambling and self-indulgent “Cosmopolis”

“Cosmopolis” has to rank as one of the year’s more bizarre, plotless independent films and among noted director David Cronenberg (“Eastern Promises”) worst film. Based on Don DeLillo’s novel of the same name, the film’s incessant, stilted dialogue wants to say something important about capitalism, wealth and the US free market in general, but it’ll lose you early on. The film concerns young billionaire Eric Packer (Robert Pattinson), who begins his day slowly riding across Manhattan to get a haircut. Along the way he runs across several obstacles, including a visit from the President of the United States, a young rapper’s funeral, and riots that he is the cause of. He realizes during this trek his company is losing money quickly and he is losing his fortune, and maybe his life in the process. Slow, talky and dizzyingly odd and rambling, “Cosmopolis” is a failure largely due to the inept script from DeLillo and Cronenberg and Cronenberg’s flat direction. Cronenberg, even with his successes in recent years with “Eastern Promises” and “A History of Violence,” has never been one to fit in with the mainstream, and he seems to veer way off course here, with 80% of the film shot inside a white limo. It would be easy to pin the blame on Pattinson, a bland actor over his head here, but place the blame for the dismal “Cosmopolis” on Cronenberg. There are a few bizarre, confusing cameos from the likes of Juliette Binoche, Samantha Morton and Jay Baruchel, though the most memorable performance comes from Oscar-nominated character actor Paul Giamatti, who chews on scenery in the final, intense moments, which provides the film’s really only worty moments, but it takes too long to get there. Cronenberg had likely intended this to be a satire on something, but nothing really works, including an uncomfortable scene with Pattinson getting a prostate exam inside the limo while talking to a co-worker. “Cosmopolis” has about as much excitement as that prostate exam, which should tell you to stay away from this film.

The Possession - C-

Rated PG-13, 91 minutes

“The Possession” a cheesy, silly Jewish version of “The Exorcist”

Jeffrey Dean Morgan

“The Possession” comes at an unfortunate time, at the end of summer when studios throw out movies they need to get rid of before the awards-heavy fall film season. In spite of a few decent scares and special effects, “The Possession” is a Jewish “Exorcist” ripoff that lacks any suspense or real empathy for its characters. After purchasing an old box (called a dibbuk) with a Hebrew inscription engraved on it at a yard sale, a young girl, Em (Natasha Calis) opens the box and then begins to exhibit bizarre and violent behavior. Em's behavior soon becomes more and more extreme. Fearing for their daughter, her recently divorced parents Clyde (Jeffrey Dean Morgan) and Stephanie Brenek (Kyra Sedgwick) make various attempts – from brain scans to consulting rabbis – to discover what the supernatural force behind the box is, what it wants, and how to keep it from destroying Em. Directed by Danish film director Olen Bornedal and co-produced by Sam Raimi, it’s inspired by a true story of a real dibbuk, which is essentially a haunted wine cabinet, said to be inhabited by a dybbuk, a spirit from Jewish folklore.  Sure, it sounds scary but too bad that suspense and creepiness didn’t make its way into the script, which is filled with silly, dumb horror film cliches (such as always walking into a dark room) and cardboard characters you don’t care about at all. There are a couple of decent jumps and special effects but overall the scares are lacking in “The Possession,” which is also unfortunate for noted filmmaker Raimi and one of my favorite actresses from the small screen, Sedgwick, not to mention Jewish folk singer Matisyahu who co-stars as a young rabbi who helps the family. “The Possession” is too predictable and somewhat laughable in the end; it may entertain and satisfy those looking for a good scare or two at the end of summer, but otherwise it’s not worth it.

Lawless - B+

Rated R, 115 minutes

"Lawless" is an intense, bloody ride thru Prohibition

Tom Hardy

The summer of 2012 ends with a bang with the new fact-based Prohibition crime drama "Lawless," a well-acted, cracking piece of history. Based on Matt Bondurant's novel "The Wettest County in the World" that's taken from his family's own tales, it tells the true story of the Bondurant brothers, Jack (Shia LeBeouf), Howard (Jason Clarke) and Forrest (Tom Hardy), successful bootleggers in Virginia during the Prohibition era. Their loyalty is threatened by outsiders wanting a piece of their profits, not to mention a ruthless lawman named Charlie Rakes (Guy Pearce), who could destroy them completely. Nominated for this year's Cannes Film Festival's highest award, the Palme d'Or, "Lawless" is a familiar crime tale that pops with energy, loads of intensity and violence, particularly in its blood-soaked finale. Though the story romanticizes and stylizes crime in a manner similar to "Bonnie and Clyde," giving it a well-worn feel, the film is well-cast and well-acted, with memorable turns by a gruff Hardy (Bane from "The Dark Knight") and scene-chewing Pearce ("Prometheus"). "Transformers" star LeBeouf grounds the film solidly, though he's upstaged by Hardy and Pearce, not to mention the lovely Jessica Chastain ("The Help") and ivory-faced Mia Wasikowska ("Alice in Wonderland") as the love interests. The underused Gary Oldman ("The Dark Knight") also appears but much too briefly as a gangster who provides help to the boys. If "Lawless" has an Australian flavor to it, it's because director John Hillcoat ("The Proposition"), screenwriter/singer Nick Cave and actors Pearce and Clarke are all Australian, but they handle this slice of Americana well, with the automobiles, costumes and set design all effectively evoking the Prohibition-era 1920s South. "Lawless" falters some as it attempts to close out on an overly sentimental, even elegiac note, but it's otherwise an entertaining, ardent crime tale definitely worth a look.

The Last Ride - C

Rated PG, 102 minutes

"The Last Ride" is a sluggish, bleak take on the Williams legend

Henry Thomas and Jesse James

There's no doubting that country music singer Hank Williams was a legend, though the film inspired by his final hours, the somber tale "The Last Ride," is far from memorable except for a strong turn from "E.T.'s" Henry Thomas. The film's story tells about a famous 1950's country music singer (Thomas) who hires a 19-year old (Jesse James) to drive him from Tennessee to Ohio and West Virginia for a couple of New Year's Eve shows. Struggling with his personal demons, the film tells about the mysterious final hours and their drive through the Appalachian country side. Slow-moving, odd but occasionally affecting, "The Last Ride" is an example of a film that would've worked far better in more skilled hands. Directed and produced by "Designing Women" creator Harry Thomason and filmed in Arkansas, "The Last Ride" should've been a powerful statement on the effects of fame and fortune, but ends up a stagnant, misguided tale. It's also odd the filmmakers chose to change the names, when it's obvious the film is closely based on Williams' final hours and his trek across several states with a young man named Charles Carr in a powder-blue Cadillac (nicely used here). Because of these changes, "The Last Ride" doesn't shed much light into the person of Hank Williams and tells us what we've known for many years (that he struggled considerably with substance abuse). Thomas is solid as the Williams-based character, and it's nice to see him tackle what seems to be a foolproof role, and he makes the best use of a script that falters to resonate. "The Last Ride" is best for Williams' fan base, though they might be baffled that they just didn't use his name in the film. Williams was such an indelible performer that it makes "The Last Ride" a disappointment on many levels for not capturing that. 

2 Days in New York - B

Rated R, 91 minutes

Delpy provides a sharp urban comedy with "2 Days in New York"

Julie Delpy

The new urban comedy "2 Days in New York" is a charming, smart effort from French actress Julie Delpy ("Before Sunrise"), who directs, writes and acts in the film, which a follow-up to her 2007 film "2 Days in Paris." Delpy is French photographer Marion living in New York City with her boyfriend Mingus (Chris Rock). Marion's French family, including her father (Delpy's real-life father Albert), her sister (Alexia Landeau) and her sister's boyfriend (Alexandre Nahon), which puts her relationship with her new boyfriend to the test. An intelligent, somewhat talky but charming comedy, "2 Days in New York" is a worthwhile comedy that often channels a less neurotic Woody Allen. Delpy's father Albert, also an actor, nearly steals the movie as her onscreen Dad, a jolly, unconventional old man who is more afraid to bathe than talk about sex. Delpy and Rock also have a nice, natural chemistry and it's nice to see Rock in a less manic, low-key yet more accessible role that shows he can act when not trying to be funny. Delpy is an adept director and even a better writer as she muses on the amusement that family and relationships provide. If you enjoy Woody Allen's New York-based comedies, then you're sure to enjoy the upbeat, winsome "2 Days in New York."

Thunderstruck - D

Rated PG, 93 minutes

Basketball film "Thunderstruck" misses the mark

Kevin Durant and Taylor Gray

The new film "Thunderstruck" is part fantasy, part children's film and part sports film, but all of it's a lame, unfunny effort that seems more product placement than actual movie. Brian (Nickelodeon star Taylor Gray) is an Oklahoma City teen who can't play basketball and desires the skills of his hero Kevin Durant (playing himself). When Brian gets to meet Durant at a Thunder game, somehow their talents are switched and Brian suddenly becomes a basketball phenomenon while Durant loses all his athletic skills and talent. Durant's agent (Brandon T. Jackson) discovers what happens and works with Brian to get Durant his skills back before the playoffs. "Thunderstruck" is a weak, misguided and derivative effort that misses more than Shaq attempting free throws. Directed by John Whitesell of the "Big Momma" movies, it seems to be a remake of the similarly-themed 2002 sports movie "Like Mike," which at least had the charm of Jonathan Lipnicki and superstar Michael Jordan. The likable Gray is an untested actor and Durant, while truly a superstar ball player, has the charm and acting ability of the basketball itself (note to Durant: don't give up your day job). There are a handful of amusing themes and it all works itself out rather ridiculously even for a fantasy film, but "Thunderstruck" is more of a slick marketing ploy and product placement for the Oklahoma City Thunder, who unfortunately lost in the NBA finals this year. Comedian Brandon T. Jackson mugs for the camera incessantly, as if making up for whatever acting ability that Durant lacks, which is considerable. "Thunderstruck" is a mildly enjoyable but otherwise hackneyed effort at best and not worth your movie dollar.

Premium Rush - B

Rated PG-13, 90 minutes

Action-packed "Premium Rush" is an enjoyable ride

Joseph Gordon-Levitt and Michael Shannon

The intense, fast-paced new action film "Premium Rush" takes cycling to a new level you haven't seen in movies before. Though the predictable, flawed story falters on more than one occasion, the chief highlight is the stunning, breathtaking cycling scenes through the streets of New York City. Joseph Gordon-Levitt is Wilee, a NYC bicycle messenger who gets caught up in the middle of criminal activity and a very dirty cop (Michael Shannon) trying to cover his tracks. As the summer movie-going season winds down, you'll want to make plans to see the enjoyable, spry and very fast-paced "Premium Rush," grounded by a nice action-hero turn by JGL and an excellent Shannon as a slimeball cop. The cycling action is the best thing about the film, and when it slows down, the script falters under the weight of a weak storyline and a few supporting cardboard character cutouts. "Premium Rush" is directed and co-written by David Koepp, who's best known for scripting the first "Mission: Impossible" film and a couple of "The Jurassic Park" films. "Premium Rush," which also features some nifty camera work from on the bicycle itself, works best when it stays on the bike. A serviceable, entertaining effort to help close out the summer.

The Imposter - B+

Rated R, 99 minutes

"The Imposter" a fascinating, moving documentary of deception

“The Imposter” is an affecting, gripping documentary about a real-life imposter who took the identity of a missing Texas boy in 1994 and actually fooled authorities for a few months. In 1994, thirteen-year old Nicholas Barclay went missing in San Antonio, Texas after playing basketball near his home with some friends.  Then in 1997, he supposedly reappeared in Spain, though in fact this was a twenty-three year old French serial imposter named Frederic Bourdin, who, with dark hair and eyes, didn’t resemble the blond hair, blue-eyed boy who had gone missing. Desiring a new life and having the keen, smooth abilities of a con artist, Bourdin convinced the family he was Nicholas, and lived with them for several months before authorities discovered who he actually was with the help of DNA testing. “The Imposter” is a compelling, often riveting documentary and sticks closely to the facts of the story, resembling famed documentarian Errol Morris in unraveling the dark details of this true life mystery that plays like something you would only see in made-up movies. The chief flaws that hamper the film are the second-rate recreations of the story from first-time director Bart Layton and play like those TV documentaries. But the story itself is a fascinating one, particularly Bourdin’s motivations to impersonate people, and the effects of his deception on the family in particular and how devastating this can be. Barclay is still missing, though a troubled family life may have had something to do with that. Entertaining and often mesmerizing, “The Imposter” is really two moving stories; one of a missing boy, the other of an impersonator, yet both heartbreakingly real.

Hit and Run - C

Rated R, 100 minutes

 "Hit and Run" is quick, mindless and unmemorable fun

Dax Shepard and Kristen Bell

The new comedy “Hit and Run” is a guilty-pleasure trip that’s more fun if you don’t think about it too much.  The film is a labor of love for actor Dax Shepard (“Parenthood”), who directs, produces, co-writes, edits and co-stars in the film with real-life squeeze Kristen Bell of “Veronica Mars.” Shepard is a former getaway driver named Charlie Bronson (nice touch) now in Witness Protection who decides to move to Los Angeles with girlfriend Annie (Bell). Hot on their trail is Annie’s ex-boyfriend Gil (Michael Rosenbaum) and some angry ex-cohorts (Bradley Cooper, Joy Bryant) and Charlie’s bumbling buffoon of a US Marshal (Tom Arnold) assigned to him. “Hit and Run” is a mildly amusing, somewhat entertaining mix of romantic comedy and road trip film that mostly works due to the chemistry and charms of its real-life married leads. Some of the darker elements of the film, particularly in the last act, don’t work (most anything with Arnold) and a few jokes fall flat but overall it’s a surprisingly nimble, energetic effort. It may have limited appeal and may not garner a wide audience, but it could easily become a cult hit if it gets good word of mouth. Shepard is the driving force behind the film, and he’s assembled a solid cast, with a few hilariously brief performances by Cooper and cameos from a pill-popping Kristin Chenowith and fist-punching Beau Bridges (good to see).  “Hit and Run” also has a nice, souped up black Lincoln that makes an unfortunate exit midway through the film. Mostly mindless fun and unmemorable in the long run, but “Hit and Run” is entertaining in a flash.

The Expendables 2 - C

Rated R, 103 minutes

“The Expendables 2” is over-the top, noisy and bloody

Stallone in "The Expendables

“The Expendables 2” is hardly anything but low-key. The derivative, bloody smash-em up popcorn action-adventure film and sequel is a tribute to those kitschy ‘80s action flicks featuring most of those ‘80s action stars mixed with some contemporary ones. Starring Sylvester Stallone, Arnold Schwarznegger, Jason Statham, Jet Li, Chuck Norris, Dolph Lundgren, Bruce Willis and Jean-Claude Van Damme among many others, it’s a flimsy effort to get these guys together again.  Noisy, stupid and bloody not to mention bloody stupid, "The Expendables 2"  is a sequel that serves up more of the same as the equally dumb 2010 hit. After taking a seemingly simple job for Mr. Church (Bruce Willis), the Expendables, led by Barney Ross (Stallone) find their plans going awry and one of their own is brutally murdered by rival mercenary Jean Vilain (Jean-Claude Van Damme, taking this way too seriously). The Expendables set out into hostile territory to put a stop to a deadly weapon and gain their revenge against the people who killed their brother-in-arms. Stallone has never been one for subtlety, and “The Expendables” is suitably over-the-top entertainment for the masses and never misses a beat in providing as much gunfire, bad dialogue and explosions as possible. Stallone doesn’t direct here (thankfully), instead handing the reigns over to a better director in Simon West (“Con Air”), though that doesn’t mean the film is any better, given that Stallone still pens the script, which isn’t much to speak of. But then, with “The Expendables,” you know exactly what you’re getting: lots of ridiculous chases, action and explosions, which to Stallone’s credit is pretty simple to write (OK, maybe that really isn’t a compliment). You’ve seen all this before and if this is a hit, which it likely will be, you’ll see another sequel with more of the tired action and action stars. Schwarzenegger and Willis’ roles, expanded from cameos in the original, still have small roles for such huge action stars and I would’ve like to see more of them, instead we get a healthy dose of a very earnest Stallone and Van Damme going at it. The loud, egregiously violent “The Expendables 2,” much like its predecessor and many of its stars, gets old, and quickly.

Sparkle - C+

Rated PG-13, 98 minutes

Best part of unoriginal "Sparkle" is music

Jordin Sparks and Whitney Houston

“Sparkle” is the uneven, unoriginal new musical film starring “American Idol” winner Jordin Sparks, Derek Luke, Mike Epps, Cee Lo Green and in her last on-screen (and singing) role, Whitney Houston. Unsurprisingly, the best thing about the film is the energetic music, with the thin story and acting lacking the pop of the brief musical numbers.  The film is actually a remake of the 1976 film of the same name, and with this version of “Sparkle” the film is set in the 1960s instead of the 1950s, and tells the story of the formation of a girl group in Detroit (Sparks, Carmen Ejogo and Tika Sumpter). Sparkle (Sparks) is the real talent, a musical prodigy with a budding career, romance with her manager (Luke) and an overprotective single mother (Houston), though many issues threaten to tear her family apart.  “Sparkle” pops musically but otherwise lacks a dramatic shape under the direction of novice director Salim Akil, and while this could propel the lovely and talented Sparks’ music career, her acting lacks focus. The film, co-produced by Dallas minister TD Jakes, is designed to give a Jennifer Hudson-like boost to the somewhat bland Sparks, whose performance is overshadowed by the death of Houston, in a supporting role as Sparkle’s mother, not to mention newcomer Ejogo as her older sister.  The film will likely be a modest hit drawing Houston fans, and while she is a commanding presence, she isn't the main focus of the movie. In between the musical numbers, the film generates too many showiz cliches and will provoke too many comparisons to another flawed yet better showbiz tale "Dreamgirls," “Sparkle” isn’t as bright as it should be, but the music, featuring songs from the original film and some new ones, is the chief highlight and the real reason (outside of seeing Houston in her last role) to see the film.

Celeste and Jesse Forever - B

Rated R, 90 minutes

Charming leads best thing about the pleasant “Celeste and Jesse Forever”

Rashida Jones and Andy Samberg

 "Celeste and Jesse" is a pleasant, mildly amusing yet bittersweet romantic comedy about the importance of..not  staying together.  Starring Rashida Jones of “The Office” and “Saturday Night Live’s” Andy Samberg, they’re an agreeable, attractive pair who overcome some of the screenplay’s more deliberate conventions. Celeste ( Jones) and Jesse (Samberg) met in high school, married young and are growing apart. Now thirty, Celeste is the driven owner of her own media consulting firm, Jesse is once again unemployed and in no particular rush to do anything with his life. Celsete decides to divorce Jesse, but then begins to question whether that is the right thing to do as they become involved with other people. Directed by Lee Toland Krieger with a screenplay co-written by Jones and fellow actor Will McCormack, the alluring film is best when it doesn’t try too hard to be different. Samberg and Jones make for a cute pair, even when they’re not together.  The supporting cast of young character actors including Chris Messina, Ari Graynor, Emma Roberts and Elijah Wood add solid support for the leads, though we’re far more interested in seeing Celeste and Jesse. I’m glad that Jones and especially Samberg can find material that suits their strong comic talents instead of the more low brow stuff that they tend to end up in (this is good enough that I can forgive Samberg for the crass “That’s My Boy”). The ending of “Celeste and Jesse Forever” is ironic and bittersweet given the title, but then maybe that’s the point. Worth a look for a slightly different take on the whole rom com film.

ParaNorman - B

Rated PG, 92 minutes

"ParaNorman" has stop-animation fun with zombies, horror films

Norman

"ParaNorman" is a new stop-motion animation film from the makers of "Coraline" that's part adventure, part horror spoof and entertaining enough to keep the attention of its target audience, though some of the humor is clearly above them. The small New England town of Blithe Hallow becomes under siege by zombies. Who can it call? Only misunderstood local boy Norman ("Let Me In's" Kodi Smit-McPhee), who is able to speak with the dead. In addition to the zombies, he'll have to take on ghosts, witches and, worst, of all, grown-ups, to save his town from a centuries-old curse. But this young ghoul whisperer may find his paranormal activities pushed to their otherworldly limits. "ParaNorman" is mildly amusing, energetic fluff with shades of the dark side that should please most ages. Directed by Sam Fell ("Flushed Away"), the stop-motion is fluid and colorful, it moves along quick and is well-voiced by an all-star cast that includes Jeff Garlin, Leslie Mann, Anna Kendrick, Casey Affleck, Christopher Mintz-Plasse, John Goodman, Tempestt Bledsoe and Elaine Stritch though it's Smi-McPhee and unknown Tucker Albrizzi (both young actors resemble their animated counterparts, a nice touch) who get in the best lines. The script lacks focus and a few scenes in the last act are a shade too intense for some young ones, not to mention the humor is likely to go above the heads of the kids, but they'll still have fun. Also, they won't really get all the amusing references to many horror/adventure films, including "The Sixth Sense," "Sleepy Hollow," "Halloween," "Night of the Living Dead" and even "Back to the Future." "ParaNorman" is spry, nimble and enjoyable enough that 90 minutes will fly by much faster than those zombies that are chasing you.

Searching for Sugar Man - B

Rated PG-13, 85 minutes

Touching, fascinating doc of lost artist in "Searching for Sugar Man"

The singer Rodriguez in "Searching for Sugar Man."

"Searching for Sugar Man" is a fascinating documentary about an extraordinary singer who finally gained acceptance, though not in the way he expected. The documentary tells the incredible true story of Rodriguez, a talented 1970s folk singer who never found an audience in the United States. Discovered Detroit in the late '60s by two celebrated producers struck by his soulful melodies and prophetic lyrics, they recorded an album (which included the song "Sugar Man," hence the name) which they believed would make him a star. However, the album bombed and the singer disappeared into obscurity amid rumors of his death. But a bootleg recording found its way into apartheid South Africa and, over the next two decades, unbeknownst to him, he became a phenomenon in that country. "Searching for Sugar Man" is a remarkable story of a forgotten artist, with an equally absorbing journey to hunt down the singer, who in spite of a failed career, never lost his spirit. "Sugar Man" is directed by one of Rodriguez's seemingly biggest fans, South African filmmaker Malik Bendjelloul, who encountered what seems like numerous obstacles in telling the singer's story, since very little information existed about him. The best part of the film is that it not only tells the singer's story, but it shares much of the singer's folksy, Bob Dylan-esque style music that was popular in the day. "Sugar Man" is not necessarily a biography, but more of a biographical sketch behind the artist and his music. The film is by no means exhaustive; the very modest Rodriguez's three daughters all speak fondly of him but his wife is mysteriously missing from the film. It's also a little sketchy as to the details of who is exactly profiting from Rodriguez's popularity, except for an extremely defensive interview with legendary Motown producer Clarence Avant, who owns the record company who owns Rodriguez's album yet denies receiving any profits. Still, it's nice to see (and hear) that a humble artist such as Rodriguez has finally found an audience, though it's several thousand miles away. "Searching for Sugar Man" is a poignant, absorbing tribute to a gifted singer worth listening to.

The Odd Life of Timothy Green - C+

Rated PG, 110 minutes

Sweet "Timothy Green" is too predictable, insincere

Jennifer Garner, CJ Adams and Joel Edgerton

The original new fantasy drama "The Odd Life of Timothy Green" isn't all that odd. Actually, it's quite conventional when you think about it, with a bland, saccharine coating that isn't surprising coming from Disney after a summer filled with "The Avengers." It's a film with a nice idea and a weak story that isn't quite fleshed out; it works fine in a handful of singular, touching moments that somehow ring false in the big picture. The Greens, Jim (Joel Edgerton) and Cindy (Jennifer Garner) are unable to conceive, so they place their wish list for their child in a box and bury it in the backyard. That evening a 10-year old boy named Timothy (CJ Adams) arrives in their house, covered in mud from the backyard and claims them as his parents. They soon realize the boy is far more special than they ever imagined. Peter Hedges ("Dan in Real Life") directs and pens the screenplay of "The Odd Life of Timothy Green" based on a story from Ahmet Zappa, son of punk rocker Frank Zappa. You'd think that alone would make it intriguing and its initial chapters are fun, yet it becomes too predictably sweet and contrived by the last act. "Timothy Green" also relies heavy on the leads telling the story in flashback, which seems too much like an annoying trick to cover up a wobbly story, which is the case here. In its favor, the film is well-acted and cast, with newcomer Adams the highlight as the cherub-faced young child that's too good to be true. And though Edgerton and Garner are solid as the parents, there are a few character actors who are more memorable in brief roles: M. Emmet Walsh as a blustery uncle, David Morse as the distant grandad and especially Oscar-winner Dianne Weist as an intimidating museum owner. The messages of accepting our differences, getting along and being a great parent are all well-placed but as Timothy's leaves begin to fall off then you'll feel a little manipulated as your tears start to fall too. "The Odd Life of Timothy Green" isn't a bad film, but I had hoped for something unconventional, different, yes even odd, but strange enough, it just doesn't feel right. It brings to life such a charming boy and then fails to do anything interesting with him.

The Awakening - B

Rated R, 107 minutes

 Slow-moving, familiar horror film "The Awakening" has some chills

Rebecca Hall in "The Awakening"

"The Awakening" is a handsome, well-acted and moderately chilling period piece and art house horror film from across the pond. Mildly languid but involving, it has elements of other films such as "The Others" and "The Sixth Sense."
Set in London in 1921, Florence Cathcart (Rebecca Hall of "Vicky Cristina Barcelona") is a renowned author who devotes herself to exposing claims of the supernatural as nothing but hoaxes. She is approached by Robert Mallory (Dominic West) to investigate the recent death of a student at the all-boys boarding school where he teaches. When fellow students report sightings of the young boy's ghost, she decides to take on the case. Initially, the mystery surrounding the ghost appears nothing more than a schoolboy prank, but as Florence continues to investigate events at the school, she begins to believe that her reliance on science may not be enough to explain the strange phenomenon going on around her. "The Awakening" is a modestly eerie film that some may feel is quite tame, but it's actually refreshing to have a horror film that doesn't rely on blood and guts for effect. Directed and co-written by newcomer Nick Murphy, much of it is rather supine yet it has a few nice jumps along the way; the last act isn't as well executed as it should be but overall a decent effort. It's also well-acted by Hall and West, not to mention a memorably hammy turn by Oscar-nominee Imelda Staunton (seen by most in several of the "Harry Potter" films). Though nothing new, if you enjoy a smart yet creepy (and mostly bloodless) horror film with a British flavor, then "The Awakening" may just be your cup of tea.

The Campaign - B

Rated R, 87 minutes

Raunchy "Campaign" lacks bite but is fun to watch

Will Ferrell and Zach Galifianakis

"The Campaign" is a politically-based comedy that hits the box-office trail this weekend, and while it's not as sharp as you'd expect, this raunchy, profane-based comedy is well-cast and generates plenty of laugh-out loud moments. In order to gain influence in their North Carolina congressional district, two CEOs (John Lithgow and Dan Ackroyd)  try to oust long-term congressman Cam Brady by putting up a rival candidate, inexperienced Marty Huggins, director of the local tourism center. The film follows the two rival politicians Cam Brady (Will Ferrell) and Marty Huggins (Zach Galifianakis) during the campaign as it escalates to a heated campaign of dirty tricks just in order to win. "The Campaign" isn't a sharp political satire, but a dumbed-down, over-the-top and obscene walk on the campaign trail, with an inspired Ferrell and Galifianakis taking center stage generating more laughs than votes this election year. Given the over-the-top nature, most of it works remarkably well, and while it most often takes the low road, it does show a contrast between how one candidate makes all the decisions while another doesn't make any himself. Ferrell, as the hard charging, bad-decision making experienced politician, and "The Hangover's" Galifianakis, as the lispy, naive Southerner, are the best thing about the script that relies too much on dirty jokes and predictable plot points instead of really saying something about politics, particularly in an election year. That doesn't mean that "The Campaign" isn't without a lot of hilarious moments (Galifianakis's family exposing their dirty secrets at the table is the funniest) that will make this hard to choose between who is the funniest here. Directed by Jay Roach (who interestingly directed the Emmy-nominated "Game Change" about the 2008 Presidential Election), "The Campaign" gets my vote as funniest political movie for this week. Enjoyable but raunchy, you won't think much but will laugh a lot.

The Bourne Legacy - C+

Rated PG-13, 135 minutes

Entertaining but convoluted "Bourne Legacy"

Jeremy Renner as Aaron Cross

There are a couple of things you should know about the new action film "The Bourne Legacy": one it has the Jason Bourne name, and two there's no Jason Bourne (or Matt Damon). It's essentially a Bourne movie without Bourne, and that's not the only confusing thing about the film, which takes the same name as Eric Van Lustbader's novel of the same name, which continued the Bourne saga without author Robert Ludlum (and does have Jason Bourne in it). "The Bourne Legacy" essentially introduces us to a new hero, Aaron Cross (played by Jeremy Renner), who is in the midst of being hunted down after the CIA decides to terminate its black ops program after Jason Bourne essentially destroys it through Operation Blackbriar. However, as Cross is on the run he meets a fellow scientist (Rachel Weisz) and they discover additional details that could threaten all CIA operatives. Entertaining but muddled, "The Bourne Legacy" isn't so much a sequel but a spinoff of a new character, similar to when Florida broke from Maude and started "Good Times," just not as funny. Tony Gilroy ("Michael Clayon") takes over the directing and writing duties from Paul Greengrass, who so proficiently helmed two of the other "Bourne" movies, and it's a less satisfying ride than those other films. Gilroy is a solid director and Renner is a nice action star, but he lacks the charm of Damon, which is not necessarily his fault but the confusing story; the script takes too long to lay out the real plot, with interweavings of prior plot points that could serve just to confuse fans of the original "Bourne" series not to mention scenes of Cross in training. Gilroy could've given a simple nod to the original series and moved forward with an entirely new story (and a Bourne-less title since he doesn't appear here), which would've worked better with half-and-half they have here. There are some enjoyable moments and plenty of explosions, but you may not have a clear sense of what's going until the energetic finale, and all along it's clear it's Renner vs. Edward Norton, as the clear bad guy here. Most of the cast from the previous movies appear, including David Straitharn, Joan Allen, Albert Finney and Scott Glenn, all who have a few decent moments in a largely unmemorable film. "The Bourne Legacy" isn't a terrible film by any means and it should be at least a modest hit, and it leaves the door open for more of these, but they'd do themselves a favor by divorcing themselves from the Bourne name.

Hope Springs - B

Rated PG-13, 100 minutes

Streep, Jones best part of the serviceable but honest "Hope Springs"

Tommy Lee Jones and Meryl Streep

Even long-standing marriages need a spark or two to keep going, at least according to the movie "Hope Springs," that's part romantic comedy, part character study. The story is serviceable and entertaining, held together by the pleasant performances of leads Meryl Streep and Tommy Lee Jones, who could easily make a movie better just by walking across the screen. Oscar-winners Streep and Jones are Kay and Arnold Soames, a devoted midwestern couple of 31 years, Kay works at a dress shop, Arnold an accountant. Feeling they have lost the spark in their marriage, Kay enrolls them in a workshop in a small town in the northeast with a renowned marriage thereapist, Dr. Bernie Feld (Steve Carrell). Uneasy and hesitant, the two must find ways to re-ignite the passion in their marriage and rediscover their attraction for each other. Directed by David Frankel ("The Big Year") and with a script by TV's Vanessa Taylor, "Hope Springs" is a honest, amusing and low-key portrait of a married couple reigniting the romance in their marriage. The script runs too many predictable courses and it's likely to have limited appeal outside mature audiences, but Streep and Jones, much like their characters devotion to their marriage, make it work with sincere, mild performances, particularly from Streep (in a nice, quieter performance after her Oscar-winning turn in "The Iron Lady"). Jones gives a typically gruff performance, while Carrell gives a very palpable turn as the sensitive therapist who never gives up on the couple. The therapy scenes provides "Hope Springs" with some of its best moments, especially as the two must open up about their sex life. Watch for small but memorable roles from Elisabeth Shue, Jean Smart and Mimi Rogers. Predictable but pleasantly entertaining, "Hope Springs" is worth it if just to see Streep and Jones.

Ruby Sparks - B

Rated R, 103 minutes

Frothy and amusing "Ruby Sparks" will satisfy

Paul Dano and Zoe Kazan

Writing isn't fun (just ask any film critic) especially when you have certain blocks that provide many stumbles. The creative process comes to life, literally and figuratively in the charming, well-acted new romantic comedy "Ruby Sparks," from the makers of "Little Miss Sunshine" and starring one of "Sunshine's" players, Paul Dano, and lovely young newcomer Zoe Kazan in a breakout performance. Calvin (Dano) is a young novelist who achieved phenomenal success early in his career but is now struggling with his writing - as well as his romantic life. Finally, he makes a breakthrough and creates a character named Ruby who inspires him. When Calvin finds Ruby (Kazan), in the flesh, sitting on his couch about a week later, he is completely flabbergasted that his words have turned into a living, breathing person. Satisfying and engaging, "Ruby Sparks" has the potential to be the indie sleeper that we haven't seen in awhile. The cutesy premise lacks full shape and it tries too hard to spin something different, but the inspiring pairing of Dano and Kazan (who also wrote the script) makes for worthwhile viewing. Directed by the husband-wife team of Jonathan Dayton and Valerie Faris, who directed the Oscar-winning "Little Miss Sunshine," the film works best when it focuses on the insecurities and frailties of the creative process, and in lesser hands it could've veered off in many directions. But Dayton and Faris handle the material well in blending part fantasy, part character study and of course part romantic comedy, and it helps they have two charming actors in Dano and Kazan, who capture some of the unspoken elements of the script well. With all of these elements wrapped into one film, some work better than others, but suffice to say which is more flawed, the characters or the person who creates them? The mildly amusing "Ruby Sparks," much like Calvin's creation, is a flawed but satisfying experience that will still leave you with a smile.

Ai Weiwei: Never Sorry - B+

Rated R, 91 minutes

Ai Weiwei doc is a fascinating portrait of a fearless artist

Ai Weiwei

"Ai Weiwei: Never Sorry" is an absorbing, thought-provoking portrayal of acclaimed Chinese artist and activist Ai Weiwei, who is most famous for designing the "Birds Nest" Olympic stadium used in the 2008 Beijing Olympic games. The documentary follows the work of Ai through the creation of several different pieces of art, including a couple of poignant tributes to the victims of the May 2008 Sichuan earthquake not to mention his own investigation into the Chinese government's mishandling of the tragic quake, as well a fascinating exhibit he did with handmade porcelain piece in London. "Never Sorry" is directed by Canadian filmmaker Alison Klayman, and it's part character study and part art exhibit, though with Ai, you can't have one without the other. Considering the unrest in the China, Ai is a brave soul, and his remarkable, expert use of Twitter is an interesting study by itsellf.  Many of Ai's family and colleagues are interviewed for the film and all come to the same basic conclusion: that Ai is a brilliant, very talented and very opinionated artist. Minimal footage is given to Ai's biggest creation, the Birds Nest stadium for the Beijing Olympics, though that piece has some irony given Ai's criticism of the government, and the government was the one who commissioned it. Some of it's a little redundant and overlong in the last act, and you while Ai is truly a smart, unforgiving artist (he enjoys shooting the finger, using the f-word and piecing odd things together), you have a sense that his mission to change things will never stop; he's sort of a Chinese Michael Moore, who won't stop until some answers are given. "Ai Weiwei: Never Sorry" is a captivating look at a brilliantly talented artist and activist who has a large following (even larger outside his native country) and who hopes bring his democratic ideas to a nation who could use some change.

 

Total Recall - C

Rated PG-13, 121 minutes

Outside of impressive visuals, "Total Recall" isn't that memorable

Colin Farrell

Some people say I look like Colin Farrell. I had to start with that attention grabber for Farrell's new movie, "Total Recall," the remake of the 1990 Arnold Schwarzenegger science fiction film given how weak the new film is. The sublime visuals are the best thing about an otherwise vacuous, insipid film that takes itself far more seriously, lacking the wry originality and distinctiveness of the 1990 film. Based on the 1966 short story "We Can Remember It for You Wholesale," it's set in 2084 following World War III when Earth is divided into two superpowers, powerful The United Federation of Britain (UFB) and the lowly but strong The Colony (i.e. the resistance), who are locked in a battle for Earth. Colony resident Doug Quaid (Farrell) is a factory worker suffering from violent nightmares. To learn more about these nightmares, Quaid visits Rekall, a corporation that provides its clients with implanted artificial memories of desired lives. In the process he discovers his life isn't what it truly is and he could be a secret agent. He is now on the run from the UFB and the lady (Kate Beckinsale) he thought was his wife. He joins forces with resistance leader Melina (Jessica Biel) while he tries to unravel the secrets of his own mind while preventing UFB special forces led by the ruthless Vilos Cohaagen (Bryan Cranston) in taking over The Colony. "Total Recall" is a fast-paced, entertaining film filled with some stunning visuals but with a murky, predictable storyline that lacks the ingenuity of the 1990 Schwarzenegger film. The earnest, heavy-handed plotting has far more political overtones with an East-vs.-West/bourgeois-vs.-proletariat message, making this version quite different than the earlier film. "Total Recall" stumbles in large due to the fact that director Len Wiseman, who's handled the "Underworld" films with wife Beckinsale, is likely the wrong person for this project. His visual flair is evident in the colorful production design and special effects but the characters and story lack development, though as usual, Beckinsale is totally hot in a vastly underwritten role. She and character actor Cranston, of TV's "Breaking Bad," are much more interesting than the bland leads in Farrell and Biel, who do very little outside of shoot and run; the film stumbles especially in its final, predictable act, when explosions take center stage and you have an idea of how it'll end. While forgettable, enjoyable entertainment, "Total Recall" is a late-summer, big-budget disappointment.

Diary of Wimpy Kid: Dog Days - C

Rated PG, 93 minutes

Thin, spry "Wimpy Kid: Dog Days" provides family fun

Zachary Gordon as Greg Heffley

"Diary of a Wimpy Kid: Dog Days" arrives in time for - you guessed it -  the dog days of summer, and this is a perfect fit for the family for this time of year. Thinly amusing yet energetic and enjoyable enough to hold the young ones interest for a bit, "Dog Days" is the third film in the profitable series that's in turn based on Jeff Kinney's very popular children's books (for fans of the books, this film follows the third and fourth books) and follows the travails of middle schooler Greg Heffley (Zachary Gordon), his best friend Rowley (Robert Capron) and his family that includes Mom and Dad Heffley (Rachael Harris and Steve Zahn, respectively) and older brother Rodrick (Devon Bostick). This story follows Greg and Rowley and their summer adventures and Greg's attempts to woo a pretty girl in his class named Holly (Peyton List), not to mention attempting to stay out of trouble long enough to avoid being sent to military school. "Diary of a Wimpy Kid: Dog Days" is much like the other films, it provides enough amusement to just get along, providing clean and cool family fun for 90 minutes. Admittedly and unsurprisingly, the Canadian-produced and filmed "Dog Days" is as lazy and predictable as a warm summer day and feels much thinner than the first two films, but then that could be the point. Greg and Rowley go to the pool. They go to an amusement park. Even a party yet trouble seems to find them at every turn, and the fun is often how they will make it out. Gordon (who's rapidly aging) is an inspired Greg, as is Capron as the plump, sensitive Rowley, though I most enjoyed seeing Zahn yuck up a few laughs in an expanded role as Greg's Dad. Kids and families will get the most out of the spry, entertaining "Diary of a Wimpy Kid: Dog Days," which may come as a welcome relief to escaping the summer heat.

Killer Joe - B

Rated NC-17, 102 minutes

Scattershot, dark "Killer Joe" makes for a wild ride

Emile Hirsch and Matthew McConaughey

The darkly funny but uneven new crime drama "Killer Joe" gives a whole new meaning to fried chicken and trailer park trash. Based on the Tracy Letts play and directed by Oscar-winning director William Friedkin ("The French Connection," "The Exorcist"), it has some sharp, very intense moments though some of it also seems very stagey. Matthew McConaughey is a quiet, low-key Dallas detective and contract killer, who's hired by a loser (Emile Hirsch) and his family (Thomas Haden Church, Gina Gershon and Juno Temple) to kill his mother for the insurance money to payoff some debts, though it all goes wrong very quickly. "Killer Joe" is lively, well-acted and superbly creepy tale and certainly not everyone's cup of tea, but Friedkin has fun capturing what happens when white trash crime goes wrong. Friedkin and Letts have worked together before on the equally dark, bizarre 2006 drama "Bug," but this darkly comedic effort works better than that film. "Killer Joe's" middle act is too uneven and some scenes are too long and stagey, but it helps that Friedkin assembled an inspired cast, particularly McConaughey in the title role, who emotes a brisk, quiet sexuality as the creepy, dangerous Killer Joe, along with solid turns by Hirsch, Gershon, Haden Church and especially Temple, memorable as the young girl who's much smarter than she looks. "Killer Joe's" cinematographer Caleb Deschanel captures the steamy South quite well, with Louisiana standing in for Dallas (though the lack of any Dallas skyline may give this away). Also, the film is rated NC-17 due to a few scenes of intense violence, some frontal female nudity and sexuality, including one controversial one involving the aforementioned fried chicken leg, though by and large most of its fairly tame. "Killer Joe" is lively, Southern and darkly potent tale you won't soon forget.