Cloud Atlas - B

Rated R, 164 minutes

Heady but entertaining "Cloud Atlas" is a wild ride

Tom Hanks and Halle Berry

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

Wes's Grade: B

Chasing Mavericks - B-

Rated PG, 115 minutes

Conventional but winning true story surfing film "Chasing Mavericks"

Jonny Weston and Gerard Butler

“Chasing Mavericks” is the winning new surfing film starring Gerard Butler (“300”) and co-directed by Curtis Hanson and Michael Apted. Though the fact-based film will appeal most to those who enjoy the sport and it isn’t anything truly revelatory, it has enough heart and inspiration to non-surfers as well. It’s the true story of noted California surfer Jay Moriarity (newcomer Jonny Weston), who became interested in surfing at an early age, with an absent father and a mother (played by Elisabeth Shue here) who hasn’t quite grown up herself. His father figure and mentor Frosty Hesson (Butler) takes him under his wing and teaches him how to surf huge, dangerous waves called Mavericks. “Chasing  Mavericks” is an enjoyable family film from Walden Media, who generally produces these types of flicks, but “Mavericks” has two decent directors in Hanson (“8 Mile”) and Apted (“The Chronicles of Narnia: Voyage of the Dawn Treader”) who make the conventional, predictable material appealing for those who don’t surf. Similar to baseball films, the film uses the sport as a backdrop to teach lessons about life, love and family, which is done here as well. Butler, who has made mostly second-rate romantic comedies as of late, is well-used here as the gruff Frosty, who teaches the wide-eyed, fresh-faced Moriarity (a likable Weston) a little about life and surfing.  For those familiar with this story, it has a bittersweet ending, as Moriarity perished not surfing dangerous waves but in an unfortunate diving accident in 2001 at the all-too young age of 22. The serviceable but crowd-pleasing “Chasing Mavericks” may have limited appeal, but its winning formula is worth checking it out, mainly in dedication to Moriarity if nothing else.

Wes’s Grade: B-

Fun Size - B-

Rated PG-13, 85 minutes

Teen comedy "Fun Size" is sweet but unoriginal

Victoria Justice

There aren't many films geared directly to teens, so it's nice when one comes along, even if it's really nothing new. "Fun Size" is for the preteen, 12-15 Nickelodeon set, who will most enjoy the comedy since its two leads are Nickelodeon stars; entertainingly bland yet mildly amusing, the premise is thin and predictable, but its target audience probably won't care. Wren (Victoria Justice) and her best friend April (Jane Levy) are invited to a Halloween party by Wren's crush, Aaron Riley (Thomas McDonell), but then Wren is also ordered by her mother (Chelsea Handler) to take her oddball little brother Albert (newcomer Jackson Nicoll) trick-or-treating on Halloween. When she goes to the party instead, she loses him and must find him before her mother finds out. So she ends up borrowing a car from nerdy Roosevelt (Thomas Mann) to find Albert. They embark on a high-stakes, all-night adventure to find Albert, crossing paths with outrageous characters every step of the way. Directed by Josh Schwartz, who created the TV shows "The O.C.," "Gossip Girl" and "Chuck," has assembled a cute, charming cast that makes "Fun Size" work even when the script and direction feel so lazy. Justice and Dallasite Mann are a fun couple, and there are some genuinely amusing moments (thanks to a chicken and a smelly bomb), though newcomer Nicoll walks off with the film as the portly, mute little brother who is much smarter than you might believe (stay over for the credits for a funny epilogue). As for the adults, it's nice seeing Handler playing Mom, and she's believable though toned down quite a bit from her late-night TV show. "Fun Size" mines the big party formula theme that so many teen movies since "Sixteen Candles" have and it plays out as you'd expect. Hardly revelatory stuff, but at 85 minutes it satisfies as one of those small fun size candy bars would: quick and sweet.

Wes's Grade: B-

The Paperboy - C

Rated R, 101 minutes 

Steamy but muddled “The Paperboy” falls flat

Nicole Kidman

“The Paperboy” is the new drama from acclaimed director Lee Daniels (“Precious”) and starring Matthew McConaughey, Nicole Kidman and Zac Efron in a sexually charged story set in the 1960’s South. It's a sluggish, hot mess of a movie but Kidman, in full “Barbarella” sex kitten mode, is a standout in a strong performance in an otherwise meandering, unfocused film. McConaughey (having a great year) is an investigative reporter named Ward in 1960’s South Florida chasing a sensational story that could amp up his career. Along with Ward’s younger brother (Efron) and a sultry death-row groupie Charlotte (Kidman), he attempts to prove that a violent swamp-dweller (John Cusack) was framed for a murder of a local sheriff. “The Paperboy” is a steamy, well-acted but vapid drama filled with sexual tension and pretty people sweating up a storm, but a script and plot as muddled as those Florida swamps. Though it evokes the '60's South well, “ The Paperboy” has more subplots, secrets and lies than an old episode of “As the World Turns" and is an intriguing and unfortunate mess for such a talented director as Daniels, whose faulty direction can’t hold the film together, and a talented cast. The always bland but handsome Efron seems out of his element next to McConaughey, Cusack and especially Kidman, who chomps on scenery and more here. She's both funny and sexy in a performance that highlights an otherwise lackluster, slow film (not to mention a couple of graphic scenes likely to stir controversy). Singer Macy Gray, who also narrates the film, is also strong in a flashy supporting part. Though "The Paperboy" emotes plenty of steam, particularly from Kidman, it comes across as a smutty soap opera about as satisfying as a ball of sweat.  

Wes’s Grade: C

Paranormal Activity 4 - C

Rated R, 88 minutes

This dull “Paranormal” entry is strictly for fans of the film series


Kathryn Newton

When the first “Paranormal Activity” debuted in 2009, it became a phenomenon that launched the “lost footage” genre style of horror films. To its credit, this genre adds an element of decent realism not found in conventional horror films, but on the downside it quickly becomes annoyingly calculated. “Paranormal Activity 4” continues this thin cycle of home video, lost footage style of scares and it provides a handful of decent scares but otherwise mines this formula (no pun intended) to death, making this entry strictly for die-hard fans of this horror film series. This one takes place a few years after the second installment, following Alex (Kathryn Newton) and her brother Wyatt (Aiden Lovekamp). They meet one of Wyatt’s friends named Robbie (Brady Allen) and his mother Katie (Katie Featherston), and strange things start happening once more. Directed by Henry Joost and Ariel Schulman, who directed the third entry, the lackluster, unoriginal “Paranormal Activity 4” continues to exploit the formula that made the first one so much fun. This is essentially more of the same, with weird things happening and things falling all over the house, but with less of the jumpy realism that made the first so good. You know what to expect with these films and by now it comes as no big surprise. There are a handful of the obligatory jumps that come with this, but otherwise if you’ve seen the other “Paranormal” films you’ve seen this one too. The “Paranormal” series was a bit flimsy to begin with (but still moderately scary) but this one adds up to nothing until the tense final act, becoming this generation’s version (but much less gruesome) of the “Saw” or “Friday the 13^th.” There are many seemingly strange things or signs that happen in “Paranormal Activity 4” but the only ones for the movie studio folks are dollar signs as they find a way to continue this limp film series.

Wes’s Grade: C

Alex Cross - D

Rated PG-13, 101 minutes

Dismal “Alex Cross” is peppered with action, little else

Tyler Perry

When I first saw the trailers for the new action crime film “Alex Cross” I was excited to see comedian Tyler Perry branching out for something different. After seeing it, I still admire Perry for doing something he’s not known for: playing a cop in an action film, though he’s no Morgan Freeman, who originated the role in “Kiss the Girls” and “Along Comes a Spider” in the ‘90s. This dismal, wooden version isn’t entirely his fault, though most will try to pin it on him. Perry is Cross, a police detective and psychologist, who becomes obsessed in tracking a serial killer named Michael “The Butcher” Sullivan (Matthew Fox from “Lost”) after The Butcher kills Cross’s wife. “Alex Cross” is an incoherent, badly directed and scripted film that offers little in terms of character development or tension and relies strictly on its action scenes, which can only carry it so far. Directed by Rob Cohen (“xXx”), the action scenes are serviceable, but everything else is over-the-top and melodramatic. Cohen is likely the wrong choice for this film, and it’s obvious he places little value on acting or characters; while Perry is serviceably bland, Fox is woefully miscast and laughably wrong for this part. Edward Burns (another cop role), Giancarlo Esposito (“Breaking Bad”) and Cicely Tyson are among the stellar supporting cast wasted in this effort. James Patterson, who created the Alex Cross character and novels, will likely not be pleased with how this turned out. “Alex Cross” is a rather unfortunate disaster and a mistake to try to resurrect this well-known character. 

 Wes’s Grade: D

Seven Psychopaths - B

Rated R, 109 minutes

 Bloody, entertaining “Seven Psychopaths” is absurd fun

Woody Harrelson

“Seven Psychopaths” is the dark new dramedy from Martin McDonaugh, who helmed the equally dark “In Bruges” a few years ago. Violent, uneven and often absurd, “Psychopaths” lives up to its name and then some, it’s well-acted and well-cast. Marty (Colin Farrell) is a struggling writer who dreams of finishing his screenplay, "Seven Psychopaths". Billy (Sam Rockwell) is Marty's best friend, an unemployed actor and part time dog thief, who wants to help Marty by any means necessary, particularly with a little focus and inspiration. Hans (Christopher Walken) is Billy's partner in crime. A religious man with a violent past. Charlie (Woody Harrelson) is the psycho  gangster whose beloved dog, Billy and Hans have just stolen. Charlie's unpredictable, extremely violent and wouldn't think twice about killing anyone or anything associated with the theft. Marty is going to get all the focus and inspiration he needs, just as long as he lives to tell the tale. McDonaugh’s tale of psychopathic excess is enjoyable but not for everyone. Think Tarantino on overkill: bloody violent with as much heady dialogue as blood. Walken, Rockwell and Harrelson are the standouts, with the always watchable Walken in great (but somewhat typecast) form. McDonaugh’s script and direction are solid but tend to veer all over the place, which can be said for the film too. Still, “Seven Psychopaths” is enjoyably violent and fun and please those who enjoy this type of thing.

 Wes’s Grade: B

Here Comes the Boom - B-

Rated PG, 105 minutes

Likable but lightweight “Here Comes the Boom”

Charice, Kevin James, Salma Hayek and Henry Winkler

I will say this about the likable new Kevin James comedy “Here Comes the Boom” and that it’s not “It’s My Boy” though it’s produced by Adam Sandler’s production company, Happy Madison. A pleasant mishmash of remarkably clean, good-spirited comedy, “Boom” is by no means a great film but it’s at least better than some (make that much) of the dreck that Sandler and company put out these days, including James’ awful “Zookeeper” from last year.  The premise is easy and predictable: James is Scott Voss, a high school biology teacher and former wrestler who goes into the mixed martial arts ring to raise money for his school’s music program and its leader (Henry Winkler), which are being cut by the school. Simplistic and fun, “Here Comes the Boom” derives its comedy from the portly James getting into the ring and getting beat up, all for a good cause.  A good message for sure, it seems far more mean spirited than it is, yet is actually a serviceable, good-natured film that keeps most of its gags above the belt, which is saying a lot for James and producer Sandler, who generally go very low brow (however, they’re currently making “Grown Ups 2” so this won’t last long). You know how it will turn out in the end, but that doesn’t mean you won’t have a little fun along the way. Directed by Frank Coraci, who’s done some Sandler and James films, it’s nice seeing James supported by the good-natured Winkler, the lovely Salma Hayek, and the talented young singer Charice, whose singing is far better than her acting. Also featuring some current and former MMA/UFC stars, “Here Comes the Boom” is slight, jumbled and very calculated, but it’s an enjoyable film that will leave you with a big smile.

Wes’s Grade: B-

Argo - B+

Rated R, 120 minutes

Entertaining, intense thriller "Argo" finds Affleck in his element

John Goodman, Alan Arkin and Ben Affleck

If you like fact-based dramas, then you'll enjoy the immensely entertaining and the edge-of-your-seat intensity of "Argo," which is an account of an unlikely CIA operation to rescue a handful of Americans during the Iran hostage crisis in 1979. Director and star Ben Affleck continues to impress with his skills behind the camera, though interestingly the chief flaws with the film have to do with his performance in the film. In 1979, during the Iranian Revolution, militants take over the U.S. embassy in Tehran and hold 52 Americans hostage. Six other Americans escape and hide in the Canadian ambassador's home. The Central Intelligence Agency and its specialist Tony Mendez (a shaggy-haired Affleck) put together a plan to help the six Americans escape Iran. "Argo" is an enjoyable, engaging and fascinating thriller; it lacks the complexity of a genuine spy thriller and it also changes much of the details to heavily focus on Mendez's side of what was really a joint U.S.-Canadian effort, but overall it's still a decent directorial effort from Affleck. The strong supporting cast, the tight script from Chris Terrio not to mention the authentic sets and 1970s clothes are all first-rate; Alan Arkin (in a composite role) provides comic relief as a Hollywood producer, but John Goodman (as Oscar-winning makeup artist John Chambers) and Bryan Cranston ("Breaking Bad") also deliver memorable turns as people who helped Mendez in the effort. Interestingly, Affleck both helps and hurts the film. Behind the scenes he is strongest, with serviceable direction and handling of the material, but in front of the camera, he is miscast, giving one of his weakest performances to date, hampering the film. Mendez is a strong character that deserves a stronger actor, and Affleck falters at giving any sense of courage or expertise. Otherwise, "Argo" comes together nicely, particularly in the intense finale, and I wouldn't be surprised to see Oscar noms for writing, Arkin, the clothes and the sets. Stay over for the credits to see the real characters and a nice voice over from former President Jimmy Carter (who thankfully portrays himself in news clips). "Argo," even with its flaws and penchant for taking dramatic license, is a well-done, entertaining effort and one of the first great films of the fall.

Wes's Grade: B+

Sinister - B

Rated R, 105 minutes

Creepy, entertaining "Sinister" strikes a familiar tone

Ethan Hawke in "Sinister"

Those looking for a few decent chills this Halloween season might enjoy the new horror thriller "Sinister," starring Ethan Hawke and a bunch of creepy kids. The demonic child routine has been mined cinematically many times before and the film falters some in its final act, but no doubt about it, these nasty young ones provide some tense moments. "Sinister" is about a washed-up true crime novelist (Hawke) looking for the next big story but who gets far more than he bargained for when he and his family move into an old house where a grisly crime occurred. He then discovers a box of old films that plunge he and his family into a supernatural nightmare that will always haunt them. "Sinister" is an above-average horror film that employs some conventional horror film elements (is it ever a good idea to get up and go into a dark room to check on that mysterious noise?) but is at its most terrifying when it relies on the unknown and setting the right mood. Directed and co-written by Scott Derrickson ("The Haunting of Emily Rose"), you'll see elements of many other horror films from "The Shining" to "The Ring" to "Paranormal Activity"; it combines traditional cinematography with some lost-footage sequences, which seem less gimmicky here than before and is one of the more chilling aspects of the film. Derrickson sets the hauntingly perfect atmosphere with shady lighting and a memorable score that alternates between pulsating electronica and some highly unusual sounds. On the downside, the backstory is a little murky and seems too summarized in a brief phone call near the end, making "Sinister's" last act seems rushed and out of place. Hawke anchors the film well, and he's paired well with British Shakespearean actress (go figure) Juliet Rylance, along with Clare Foley and Michael Hall D'Addario as the children who are more than just lovely faces. Watch closely for former politician and "Law & Order" actor Fred Thompson in a small part as a gruff, cranky sheriff. Those looking for a handful of scares will have a good time with the disturbing and disturbingly familiar "Sinister."

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

Taken 2 - C-

Rated PG-13, 91 minutes

Neeson's back in unoriginal, predictable "Taken 2"


Liam Neeson

Liam Neeson emerged as a smart, cool action hero a few years ago with the hit film “Taken,” about a man out to save his kidnapped daughter.  Neeson is still cool and smart, even if the sequel “Taken 2” is as unoriginal and lazy as its title. A year after the events in Paris, on a trip to Istanbul, Bryan Mills (Liam Neeson) gets a surprise visit from his daughter, Kim (Maggie Grace), and his ex-wife, Lenore (Famke Janssen). The happy reunion turns sour when Lenore is taken by people working for Murad Hoxha (Rade Šerbedžija), whose son was killed by Bryan in Paris and responsible for the kidnapping of numerous women. With Lenore held hostage and Kim on the run, Mills must utilize all his lethal skills to rescue them and eliminate any who are seeking revenge against him. An unnecessary sequel if there ever was one, “Taken 2” is predictable and far-fetched, peppered with a few entertaining moments provided by the rugged Neeson.  Produced by Luc Besson and directed by Oliver Megaton (“Columbiana”), it’s a lazy dumb setup that you know where it’s going and how it will end even within the first frame of the film. Neeson is by far the best thing about the film, who lends class to a film that is in great need of it. It also leaves it wide open for a “Taken 3,” but let’s hope they choose somewhere more exciting than Istanbul, which looks so drab here. “Taken 2” is a by-the-numbers thriller that should still please Neeson’s fans.

Wes's Grade: C-

Frankenweenie - B

Rated PG, 87 minutes

Uneven yet oddly clever, heartwarming "Frankenweenie" is a fun tale

Sparky

The new stop-motion animated "Frankenweenie" is a clever, heartwarming homage to "Frankenstein" and other horror films from director Tim Burton, and his odd, dark sense of humor serves him well here.  After unexpectedly losing his beloved dog Sparky, young New Holland resident Victor Frankenstein (Charlie Tahan) harnesses the power of science to bring his best friend back to life-with just a few minor adjustments. He tries to hide his home-sewn creation, but when Sparky gets out, Victor's fellow students, teachers and the entire town all learn that getting a new "leash on life" can be monstrous. Burton and company are back again with the oddly charming, playful "Frankenweenie."  A remake of his 1984 live action short film of the same name, the black-and-white 3D film visually enriching and enjoyable, though its uneveness is felt in a very dark last act that might leave some younger ones a little frightened. The dark tone is reminiscent of his "James and the Giant Peach" and "The Nightmare Before Christmas" and while this film isn't as original, it's one of Burton's more accessible films, except for the edgier last act, which may be too frightening for younger kids (not to mention the death of animals, which can be traumatic) and features some truly scary (but fun) creatures. Well-voiced by newcomer Trahan, there's some veterans who are memorable too, including Martin Landau, Martin Short, Winona Ryder and especially Catherine O'Hara, who nearly steals the film with several colorful voices. Even with some of the edgier elements, "Frankenweenie" is a nice homage to "Frankenstein" and other horror films, including Dracula, Godzilla and even Gremlins and has an endearing (if not wildly unconventional) charm to it. "Frankenweenie" is essentially a sentimental tale about a boy and his dog, with a few odd, dark extras that Burton likes to throw at his audience. Amusing and entertaining, it's a tad intense for younger kids but everyone else should leave with a big smile.

Wes's Grade: B