Hotel Transylvania - C-

Rated PG, 91 minutes

Busy, mildly enjoyable "Hotel Transylvania" isn't worth the stay

Adam Sandler is Dracula

You’d think with load of comedic talent featured in the mediocre, busy “Hotel Transylvania” that it’d be funnier, but it’s not and is really just a thin premise strung together by a load of mildly funny sight gags and throwaway lines. This is about Dracula's (Adam Sandler) lavish five-stake resort known as Hotel Transylvania, where monsters and their families can live it up, free to be the monsters they are without humans to bother them. On one special weekend, Dracula has invited some of the world's most famous monsters—Frankenstein (Kevin James) and his bride (Fran Drescher), the Mummy (Cee Lo Green), the Invisible Man (David Spade), a family of werewolves  (Steve Buschemi and Molly Shannon), and more--to celebrate his daughter Mavis's (Selena Gomez) 118th birthday. For Drac, catering to all of these legendary monsters is no problem--but his world could come crashing down when one ordinary guy (Andy Samberg) stumbles on the hotel and takes a shine to Mavis. This “Hotel” is strictly for kids who enjoy this type of thing, which has been done better and more amusing with the “Shrek” films, which this is a pale imitation of.  It also doesn’t help that its star, Sandler, hasn’t had much luck lately at the box office after the horribly offensive “That’s My Boy” and “Jack and Jill.” He doesn’t do many favors for this film, either, and while the animation is colorfully serviceable, the silly humor is mostly annoying (Sandler’s music, fart jokes and Drescher). Do yourself and your family a favor and keep on driving until you find a better establishment than the sporadically enjoyable “Hotel Transylvania,” and better entertainment while you’re at it. Four star talent, two star humor.

Wes's Grade: C-

Liberal Arts - B

Unrated, 97 minutes

Talky but pleasant "Liberal Arts" opens up possibilities

Elizabeth Olsen and Josh Radnor

The effusive new romantic comedy explores the possibility of trying new things and reaching your potential. Low-key, hardly revelatory but still engaging, director, writer and star Josh Radnor ("How I Met Your Mother") clearly has an affinity for Woody Allen comedies, which in some ways this film attempts to mimic. Newly single and uninspired by his job in college admissions, the introverted Jesse Fisher (Radnor) lives with his head buried in a book and longing for his college days of past. So when his favorite professor (Richard Jenkins) invites him back to campus to speak at his retirement dinner, Jesse jumps at the chance. Meeting the precocious college student Zibby (Elizabeth Olsen) awakens in him long-dormant feelings of possibility and connection. The talky and pleasant but thin "Liberal Arts" has a certain awkward charm to it as it looks at a thirtysomething professional who is struggling to find himself. It has a few amusing moments, though it's really just a surface, somewhat meandering exploration of relationships and humanity; it's a film that will leave you with a smile rather than laugh-out loud chuckles. Radnor, who's clearly trying to make the transition from TV to film as "How I Met Your Mother" nears the end of its run, is, much like his TV character, a solid, likable lead who grounds the film well, and he and Olsen have decent chemistry together. Watch for a few sturdy character actors, including Jenkins, Allison Janney, Elizabeth Reaser, and in an unexpected but amusing small part, Zac Efron. "Liberal Arts" is a mildly amusing, serviceable effort that's far from perfect but will leave you feeling good about yourself.

Wes's Grade: B

Pitch Perfect - B

Rated PG-13, 112 minutes

Enjoyable "Pitch Perfect" hits mostly fun notes

Anna Kendrick

The crowd-pleasing, boisterous comedy "Pitch Perfect" arrives in theaters this weekend, and it will please even those of us who can't carry a tune in public. The film is nothing new - it's essentially an a cappella "Glee" for the college set - but the charming cast and music will win you over. The ubiquitous Anna Kendrick ("End of Watch") is Becca, a talented but cynical, lonely girl into making music. As she struggles to fit in, she discovers the competitive world of college a cappella groups and finds herself in an all-girls a cappella group, some of whom like Chloe (Brittany Snow) and Aubrey (Anna Camp) are experienced, while others such as Amy (Rebel Wilson) are there to make friends. Pushed and challenged, the group will change more than she realizes. Predictable and slight, "Pitch Perfect" is still a pleasurable comic romp thanks to an engaging cast that includes Oscar-nominee Kendrick (who has a fine voice and does her own singing) and the biggest scene-stealer of the year in Wilson ("Bridesmaids" and the recent "Bachelorette," whose character calls herself "Fat Amy." While Wilson may be bigger than the other girls, she's a huge comic force and has an honest wit that helps her to essentially walk off with the movie, and most of these pixies she could likely carry on her back. The raunchy tone and "Glee"-esque plot is as old as the ages but the nice mash-up of tunes (the '80s tune "Don't You Forget (About Me)" is my favorite) and the cast is hard not to like. Speaking of which, Kendrick, playing the outsider here, is still cute as a button, and she grounds the film well. Even if you don't enjoy "Glee" (I'm not a big fan, sorry) or movie musicals, you'll still get a kick out of the winning, enjoyable "Pitch Perfect."

Wes's Grade: B

Looper - B+

Rated R, 118 minutes

"Looper" is smart, thrilling version of time travel

Joseph Gordon-Levitt

The entertaining new science-fiction action film "Looper" gives you an idea of how to make amends with your future self; it's one of the year's most original films and certainly one of the more exciting yet mind-bending sci-fi films to come along in some time. Starring Joseph Gordon-Levitt and Bruce Willis, it's not perfectly executed but it does utilize both actors very well. In a futuristic gangland in the year 2044, a 25-year-old assassin named Joseph Simmons (Gordon-Levitt) works for a mafia company in Kansas City as a "Looper". Loopers kill and dispose of agents sent by their employers from corporate headquarters in Shanghai from the year 2072. Loopers are foot soldiers, paid on the condition that all targets must never escape. When Simmons recognizes his target as a future version of himself (Willis), his older self escapes after incapacitating him. The failure of his job causes his employers to come after him, forcing him to fight for his life as he hunts his older self. Thrilling, intriguing and more bloody than you might expect, "Looper" is also an intelligent and thought-provoking futuristic science-fiction film. Written and directed by Rian Johnson ("The Brothers Bloom") in only his third film, it's action-packed enough to please thrill-seekers and cerebral enough to draw the comic-con crowd. The special-effects and sets are sublime and the pacing mostly adequate, except for a slower, slightly saggy second act. Most talked about will be Gordon-Levitt and Willis, who make for a believable pairing, thanks to some nice (but really heavy) makeup used to make Gordon-Levitt resemble a younger version of Willis. Though the makeup is obvious, it works to Gordon-Levitt's favor, who without it doesn't look anything like Willis (who has been around long enough that we know what he looked like younger) but "Looper" should still please fans of both JGL and Willis. Also giving memorable turns are Jeff Daniels as one of the bad guys and Emily Blunt in a small but pivotal role. As for "Looper's" complex plot, I won't give it away, though it's one that requires paying close attention to the details. "Looper" is a first-rate, very original and enjoyable science-fiction film. Definitely put this one on your list to see.

Wes's Grade: B+

The Perks of Being a Wildflower - B

Emma Watson and Logan Lerman

Rated PG-13, 103 minutes

Well-acted, quirky "Wallflower" appeals to the younger set

“The Perks of Being a Wallflower” is the latest quirky indie coming-of-age-film that should resonate with teens and young adults. Based on the novel by Stephen Chbosky, who also writes and directs his feature debut, the film is a faithful adaptation of the book, and while some of it falters, particularly in the final act, the film is both affecting and downbeat. The film tells the story of Charlie (Logan Lerman of “Percy Jackson and the Olympians: The Lightning Thief”), a lonely and depressed teen entering high school without any friends. He eventually meets two seniors, step-siblings Sam (“Harry Potter’s” Emma Watson) and Patrick (Ezra Miller of “We Need to Talk About Kevin”), and they all become good friends, though the face the challenges of growing older and finding their true love. Likable, well-acted and poignant, “The Perks of Being a Wallflower” should find a faithful audience in the young adults the film appeals to. Author Chbosky is a serviceable director and writer, though he struggles to find the tone of the film, and its unevenness is apparent in the last act, when the darker elements, which are glossed over throughout the film, seem sprung on the audience. Fresh-faced Lerman, in a breakout role, grounds the film well, though it’s Miller, as the wise-cracking Patrick, who has the best lines, and the luminous Watson, in her first big post-Potter role, who are the most memorable. Paul Rudd, Melanie Lynsky, Dylan McDermott, Kate Walsh and in a tiny role, Joan Cusack, who make brief appearances as the adults in Charlie’s life. “Wallflower” seemingly takes place in the past, the time period is never specifically mentioned, also has a decent soundtrack of indie tunes of past and present that should appeal further to the younger set. “The Perks of Being a Wildflower,” much like its main character, is flawed, but it’s an entertaining fit for the early fall movie season.

Wes's Grade: B

Won't Back Down - C

Viola Davis and Maggie Gyllenhaal

Rated PG, 121 minutes

Predictable “Won’t Back Down” receives a passing grade, but only due to Davis

"Won’t Back Down” has an inspiring premise and a talented cast yet barely makes the grade due to its unfocused script and flat direction as well as a slow, rambling start. It picks up in the final act and is saved by another strong performance from Oscar-nominee Viola Davis (“The Help”).  The movie tells the story of two determined Pittsburgh mothers, a bartender (Gyllenhaal) and a teacher (Davis), look to transform their children's failing inner city school. Facing a powerful and entrenched bureaucracy and corruption from the teacher's union president (Hunter) along with others in the district, they risk everything to make a difference in the education and future of their children. “Won’t Back Down” is a predictable, by the numbers drama peppered with a few compelling moments and the dynamic Davis, who keeps the film together. The film, based on actual events and a parent trigger law in some states that allow parents to essentially take over failing schools,  has a relevant story but is in need of tighter direction and a leaner script by Daniel Barnz (“Beastly”), not to mention that the lovely Gyllenhaal is miscast in one of the central roles. She’s also no match for the towering presence of Davis, who at this point could read the phone book and make it watchable. Her poignant performance (particularly down the final stretch) is the chief reason to see “Won’t Back Down,” though I wish she had more scenes with Holly Hunter, playing a union rep caught in the middle of a fight. Hunter, like Davis, is a commanding presence in a film that lacks focus and heft. For a much more fascinating look at this subject, check out the 2010 documentary “Waiting for Superman.”

Wes's Grade: C

Arbitrage - B

Rated R, 100 minutes

Entertaining "Arbitrage" a worthy investment of your time

Richard Gere

A solid investment is one that over time, in spite of ups and downs, produces a decent return, which can be said of the new financial thriller "Arbitrage," starring Richard Gere. The film isn't perfect, particularly an uneven last act, but in the end there is a nice payoff. Sixty-year-old billionaire hedge fund manager Robert Miller (Gere) seems to have it all: a beautiful family and a successful business. But he has mismanaged his company's assets to complete a sale and cover up fraud and is all the while having an affair with a young art dealer. He and his mistress are involved in a deadly car accident that leaves her dead as he walks away. Now, in order to prevent his wife (Susan Sarandon) from discovering the truth, he tries to cover up his involvement in the by using a former client of his for an alibi. At the same time, he tries to avoid the police detective investigating the case, (Tim Roth) who is sure that Miller has committed murder. "Arbitrage" is a slick, well-acted thriller that's held up by the solid teaming of Gere and Oscar-winner Sarandon, both of whom keep things watchable in spite of a flawed script that takes some time to gain some footing. Directed by Nicholas Jarecki ("Tyson"), "Arbitrage" has some decent moments of tension, thanks to his leads. Gere is believable as the corrupt 1%-er you won't have much sympathy for, and Sarandon is strong in an underwritten role as the smarter-than-you-think spouse. Roth, Nate Parker and Brit Marling also have a few memorable scenes in supporting roles of the people affected by Miller's behavior. "Arbitrage" is an above-average, serviceable thriller with a nice profit over the long term.

Wes's Grade: B

Dredd 3D - C

Rated R, 98 minutes

Splashy but empty "Dredd 3D" is overkill

Karl Urban is Judge Dredd

"Dredd 3D" is a vacuous, violent and unmemorable remake of the 1993 Sylvester Stallone film "Judge Dredd," by no means a masterpiece and based on the comic strip character of the same name. In this film, Dredd is played by Karl Urban ("The Lord of the Rings," "Star Trek"), and it's a futuristic film set in a vast dystopian metropolis of Mega-City One. The city is overrun with criminals, and order is kept by urban law enforcers known as Judges, who are given the power of judge, jury and executioner. Judge Dredd is tracking down a drug kingpin named Ma-Ma (Lena Headey), who is responsible for a deadly drug epidemic in the city, not to mention he must train rookie Judge Anderson (Olivia Thirlby). Buckets of blood, bullets and bodies fill "Dredd 3D," but the story is (unsurprisingly) thin and derivative and makes some major changes to the comics. Urban, a likable New Zealand character actor, isn't the best choice for Dredd, and the costume seems to swallow him up at times. The bombastic special effects and post-apocalyptic wasteland sets are the most memorable thing about "Dredd 3D," directed by Pete Travis ("Vantage Point") and scripted by Alex Garland ("Never Let Me Go"), and I enjoyed seeing a strong female villain in Headey, best known for playing Sarah Connor in the TV show "The Sarah Connor Chronicles." Those looking for quick fix of action and an excessive amount of gory violence should be pleased, and you'll get a chance to see much of it in slow-mo too. "Dredd 3D" is mildly entertaining but forgettable fun with minimal appeal outside of the fan boy set.

Wes's Grade: C

The Master - B+

Rated R, 138 minutes

Magnetic and superbly acted is "The Master"

Joaquin Phoenix and Philip Seymour Hoffman

I've always had an admiration for the devotion that film director Paul Thomas Anderson has for his work, and it's evident in his films such as "There Will Be Blood" and "Magnolia." I have an appreciation for his films too, even if I don't fall in love with them as many of my colleagues do, and I feel the same way about "The Master," a layered, well-acted film that stands as one of Anderson's most captivating films and one of the year's more magnetic films after a lackluster movie-going summer. Set in the 1950's, "The Master" is about a charming intellectual (Philip Seymour Hoffman) whose cultish faith-based, new age movement starts to catch on in America, and his relationship with a rough, alcoholic drifter named Freddie (Joaquin Phoenix) who eventually becomes his right-hand man. Beguiling, overlong and filled with Anderson's trademark, odd touches, "The Master" is one of the year's more memorable films. Like other Anderson films, there is a cold, bizarre distance that he creates that doesn't appeal to everyone, but it's engaging enough you won't be able to look away. It's a character study of two different individuals, of the shepherd and one of straying sheep. Phoenix, in one of his best roles, and Hoffman, are both superb and should garner Oscar nominations for their performances, particularly Phoenix, who chews up every scene he's in. Amy Adams is also strong as Hoffman's young, equally bizarre wife who's committed to their "cause." Hoffman's character is supposedly and loosely based on Scientology founder L. Ron Hubbard, and while Anderson may deny this it's strikingly evident in the things said and done throughout the film that it is. Anderson also is a technical prowess in film making, and he adeptly uses heavy string music, cinematography and lighting to create a memorable scene, and the costumes, sets and automobiles all evoke a believable 1950s feel. Though I still have a cautious admiration for Anderson and his films, I will say that the enticing "The Master" is probably Anderson's most accessible work to date. Expect to see this film a lot during awards season later this year.

Wes's Grade: B+

End of Watch - B

Rated R, 109 minutes

Jake Gyllenhaal and Anna Kendrick

Well-acted, hypnotic and familiar "End of Watch"

“End of Watch” is a hypnotic, entertainingly familiar police crime drama set on the streets of South Central Los Angeles, one of the roughest areas of that city. “Watch” follows two L.A. police offers (Jake Gyllenhaal and Michael Pena) on the streets. As they track down criminals, they make a startling discovery that leads to a drug cartel, who in turn then wants them both killed. Directed by David Ayer (“Street Kings,” “SWAT”), the violent but well-acted film is shot documentary-style to give it more of a natural, street feel, which both helps and hurts the film. The film’s jumpiness gives it an edge though at some points throughout it becomes annoying and unnecessary. “End of Watch” treads familiar ground and much like the other L.A. police films, has a dramatic, bloody (not to mention tragic) ending. Yet the difference with Ayer’s version of L.A. is that it’s infused with much more humor than you’d expect, which softens the film’s darker plot elements, not to mention making the cops here much more sympathetic (and far less dirty) than say Woody Harrelson in last year’s very dark and very serious “Rampart.” Gyllenhaal and Pena ground the film well in strong performances, Gyllenhaal in particular gives one of his better performances (his final, heartbreaking scene is the film’s most memorable), and the two share a genuine chemistry that is felt on screen.  “Watch” also works best when it focuses on the job rather than their personal lives, and while Anna Kendrick and Natalie Martinez, as the cops significant others, are lovely, their roles are mostly unnecessary.  The predictable but enjoyable “End of Watch” with its strong performances, is one of the year’s better films.

Wes's Grade: B

10 Years - B-

Rated PG-13, 90 minutes

Sweet ensemble comedy "10 Years" strikes a familiar chord

Channing Tatum and Rosario Dawson

"10 Years" is an entertaining, if not overly recognizable and well-worn "class reunion" film. Think of this as a sweeter, less raunchy version of the "American Pie" films, and with a more handsome cast. "10 Years" follows a group of friends on the night of their 10th high school reunion who, a decade later, still haven't quite grown up. Jake (Channing Tatum), who is deeply in love with his girlfriend (Jenna Dewan-Tatum) and ready to propose-until he runs into his high school flame (Rosario Dawson) for the first time in years. Jake's friend Cully (Chris Pratt) married his cheerleader girlfriend (Ari Graynor), and has been looking forward to the reunion so he can finally apologize to all the classmates he bullied in high school. The famous one of the group, Reeves (Oscar Isaac) is now a famous pop singer, but is still too shy to talk to his high school crush (Kate Mara). Screenwriter Jamie Linden ("Dear John") directs and writes in his feature debut and while it's a flawed effort, it works mainly due to the charm of the large cast, including Tatum, his real-life wife Jenna, Dawson, Pratt, Graynor, Mara, Isaac not to mention Justin Long, Max Minghella, Aubrey Plaza and Lynn Collins. The story is thin and a bit rambling and stuffed with way too many characters, some of which are mostly cardboard cutouts, but they're also what holds up the movie and without them this would be another familiar, flavorless retread of the "American Pie" films without the pie. Sure, Tatum is bland as ever but still handsome, and he and Dawson make for a nice couple, with Pratt, Minghella and Long all getting in a few good lines. However, the best thing about the film is not the story or the acting but a wistful, touching original song called "Never Had" that's written and performed by Isaac in the film. "10 Years," though predictable and familiar, is sweet enough to have its heart in the right place and is more mature than most in this genre. Much like its characters, "10 Years" is not perfect but you'll enjoy the company.

Wes's Grade: B-

House at the End of the Street - C-

Rated PG-13, 101 minutes

Boredom will kill you in "House at the End of the Street"

Jennifer Lawrence and Max Thieriot

If you're looking for a few thrills, you won't find any in the schlocky new horror thriller "House at the End of the Street," starring lovely young Oscar nominee Jennifer Lawrence, best known for the blockbuster film "Hunger Games." She's a smart actress who somehow ended up in a tame, lackluster psychological thriller that will only produce more yawns rather than any genuine scares. Lawrence is Elissa, and Elisabeth Shue is her mother Sarah, and they move into an upscale house in a nice, rural Northeastern neighborhood. Yet this neighborhood harbors a chilling secret, as they learn a double murder occurred in the house next to theirs, leaving a son reclusive son Ryan (Max Thieriot) as the sole survivor. As Ryan and Elissa become close she discovers even more secrets that could put her in serious danger. "House at the End of the Street" is a docile, watered-down horror film that fails to capture any truly frightening or creepy moments. It's due mostly to the fact that it takes such a considerable amount of time before the film starts really coming together, and by the time it does in the final act there won't be any real surprises at the big revelation. Director Mark Tonderai ("Hush") directs a script based on a short story by filmmaker Jonathan Mostow ("Terminator 3: Rise of the Machines"), and he fails to engage the audience in the boring backstory that's never fully explained. Lawrence (who shot this before "Hunger Games") and Shue make for a believable mother-daughter pairing, and Thieriot is handsome enough, but "House" falters under the weight of boredom and a handful of preposterous contrivances that simply don't work. "House at the End of the Street" will attempt to cash in on Lawrence's "Hunger Games" popularity, but even Lawrence's fans (and I'm one of them) will find it's a disappointment, and worst of all, not that scary.

Wes's Grade: C-

Trouble with the Curve - B

Rated PG-13, 111 minutes

John Goodman, Amy Adams and Clint Eastwood

Gruff Eastwood turn gets a base hit with “Trouble with the Curve”

Clint Eastwood is at a point in his career where he likely doesn’t care what others think (his recent RNC speech is evident of that) but most will enjoy his new baseball film “Trouble with the Curve,” a likable but flawed film that features strong performances and great chemistry. Eastwood is an aging baseball scout for the Atlanta Braves with failing eyesight and forced retirement looming. His uptight but successful attorney daughter Mickey (Amy Adams) tags along on a scouting trip to provide some help and hopefully bridge their estranged relationship, not to mention a possible romance with a fellow young baseball scout (Justin Timberlake). As we know with most baseball movies (see “Field of Dreams," “The Natural” or even last year’s “Moneyball”), baseball is simply a backdrop for dealing with life’s issues, as it is in “Trouble with the Curve,” an entertaining but predictable movie that should please Eastwood’s fan base. Eastwood, for the first time in nearly 20 years, is acting and not directing himself, leaving that to one of his long-time assistant directors, Robert Lorenz in his feature film debut, which could be the reason for some of the film's flaws. The trouble with this “Curve” is the setup seems a little too contrived and predictable, not to mention the romance with Adams and Timberlake is largely nonessential filler.  Still, the performances and the warm chemistry between Eastwood and Adams is the chief reason for the seeing the film. Eastwood has aged nicely into a gruff character actor, and his familiar, grouchy presence is nothing really new, but Adams makes for decent tit-for-tat and a serviceable counterpart. John Goodman, Matthew Lillard and Robert Patrick add sturdy support, though Timberlake is trying too hard after his recent failed romantic comedies. “Trouble with the Curve” isn’t a home run but it is a base hit, providing one of Eastwood's more enjoyable films of the last few years.

Wes's Grade: B

Finding Nemo 3D - A

Rated G, 100 minutes

 You'll fall in love in the enchanting "Nemo" again in 3D

What’s old is new again, with the arrival of the new 3D version of the 2003 Pixar animated blockbuster “Finding Nemo,” which presents the underwater adventure of a clownfish Marlin (Albert Brooks) and his son Nemo (Alexander Gould), along with a forgetful blue tang fish (Ellen DeGeneres). If you enjoyed the original 2D version (which most did), you will certainly enjoy this luscious new print in 3D. It should re-introduce the film to a new generation, who should enjoy it as much as the first time it came out. Probably unnecessary to do so except to find a way to increase studio profits, but it’s still a delightful film that’s worth seeing for the first time or again.

 Wes’s Rating: A

Resident Evil: Retribution - D

Rated R, 97 minutes

Empty “Retribution” is no retribution for its audience

“Resident  Evil: Retribution” is the latest “Resident Evil” film, the 5^th in this film series based on the video games, and it continues the mediocre but slick entertainment from director and writer Paul  W.S. Anderson and his wife/star Milla Jovovich, who can thank her husband (or maybe not) for her roles in these vacuous, derivative films. In this outing, Jovovich’s character Alice continues to battle the evil Umbrella Corporation, whose deadly T virus continues to ravage the Earth. Alice once again (as in the previous films) awakens and hunts those responsible for the latest outbreak, though she is in a race against time before it destroys everything she’s ever known. The “Resident Evil” films are action films made for the masses who care little about characters and all about the action. On that note, “Retribution” will entertain and likely be another hit for its director and star, but it’s really more of the same with more explosions and fast-paced scenes. Just as with the video games, these films can go on and on, regardless of who dies and who lives (not that you care about any of the characters). The special effects, costumes, set direction and explosions all serve the film well, it’s just devoid in the way of story, acting and characters, really anything of cinematic substance. “Resident Evil: Retribution” only proves that audiences enjoy mindless action thrillers based on video games and will watch just about anything. Like the other films in this series, it’s a piece of junk, but an entertaining one.

 Wes’s Rating: D

The Words - C

Rated PG-13, 96 minutes

Irons the best part of the sensitive but muddled "Words"

"The Words" has a lot to say, about life, romance, writing, identity and more, so much in fact that it attempts to tell it over several different storylines. The premise is interesting and the handsome cast has a few engaging moments, but the story-within-a-story-within-a-story becomes too confusing over the course of the film and some parts of it are too implausible to buy into. The film's high-profile, glossy cast includes Bradley Cooper, Zoe Saldana, Ben Barnes, Olivia Wilde and Dennis Quaid, though the most memorable is the commanding presence of Oscar-winner Jeremy Irons. The Words tells the story of author Clay Hammond (Quaid), reading his new book called The Words, which is about Rory Jensen (Cooper), who becomes popular after taking credit for publishing someone else's story. "The Words" is an enjoyable film with plenty of entertaining moments that's hampered by a muddled, thin storyline, especially the weak Quaid sequences that bookend the film. The movie works best when Irons, in a supporting part as The Old Man who is responsible for the story, is on screen, and his backstory is the most affecting and least calculated of the plot. Irons remains a warm but strong presence who overtakes the film from the bland Cooper and Quaid. Yet the most annoying part of "The Words" isn't necessarily the many storylines but the heavy-handed, unnecessary voice-over narration that only shows the script's weaknesses and becomes even a little self-mocking at times. "The Words" is an entertaining film in the vein of female flicks like "Message in a Bottle" and "The Notebook"; just because it's warm and fuzzy doesn't mean it's a great film.

Bachelorette - C

Rated R, 91 minutes

"Bachelorette" a mildly amusing, profane "Bridesmaids" ripoff

"Bachelorette" has a beautiful cast and a nice pedigree of producers in Will Ferrell and Will McKay. The problem is that it's been done and seen before, and much better, in last year's "Bridesmaids." Starring Kirsten Dunst, Isla Fisher, Lizzy Caplan, James Marsden, Adam Scott and scene stealer Rebel Wilson (interestingly enough, from "Bridesmaids"), the film is about three young women who attempt to put the past behind them by serving in the wedding of a woman (Wilson, the best thing about the film) they made fun of in high school. A few scattered, funny moments in this exceedingly raunchy, drug-fueled film doesn't add up to much. It's an unfortunate waste of a decent cast, most of whom do coke and run around acting silly. Doesn't help that the unoriginal, thin premise was done so much better in "Bridemaids," and with less drugs and nudity.

Chicken with Plums - B

Rated PG-13, 90 minutes
In French with English subtitles

Wistfully pensive "Chicken with Plums"

"Chicken with Plums" is a French drama getting wide release here in the states. It's about a Tehran man, a talented musician, in 1958, who has lost taste for life and is still searching for the one violin with the precious sound that can make him happy again. He gives up and decides to go to bed to await death, but not before discovering what his true inspiration was. Pensive, humorous and well-acted, the film starts renowned French actor Mathieu Almaric and is based on a graphic novel of the same name. "Chicken with Plums" is an odd film that may not be everyone's cup of tea, but it has some nice, wistful and unconventional touches of amusement that should please those who enjoy French film.