My Favorite Films of 2013

My favorite films of 2013:

The Wolf of Wall Street - Scorsese, DiCaprio team up again in a mesmerizing, real-life tribute to excess. A must-see.
American Hustle - David O. Russell does it again, bringing together a superb cast and story together.
Inside Llewyn Davis - The Coen brothers musical, sort of. Has my favorite song of the year, "Please Mr. Kennedy."
Blackfish - The year's most powerful doc, your views of Seaworld will forever change.
Nebraska - The year's best character driven drama from Alexander Payne. Bruce Dern and June Squibb shine in touching roles.
Gravity - Sandra Bullock is excellent in Alfonso Cuaron's sensational, riveting space drama. My favorite film of 2013.
Captain Phillips - Tom Hanks is back in a super intense real life drama from Paul Greengrass. The final moments are truly harrowing, and Hanks' final minutes should earn him another Oscar nom.
12 Years a Slave - The year's most intense, well-acted movie. Difficult to sit through, but a must-see.
Blue Jasmine - Cate Blanchett gives one of the year's best performances as one of Woody Allen's most unlikable characters.
Twenty Feet From Stardom - The year's most uplifting, fascinating documentary, a tribute to backup singers.

Honorable Mention

Elysium - The summer's best action film starring Matt Damon.
Fruitvale Station - Powerful, well-acted true life drama starring newcomer Michael B. Jordan.
Short Term 12 - One of the year's best indie films starring another newcomer, Brie Larson.
All is Lost - Redford is superb in one of the year's most unconventional films. Silence is golden.
Philomena - Judi Dench will be nominated once again in this bittersweet drama.
Saving Mr. Banks - Hanks and Emma Thompson are excellent in this sentimental story of the making of Mary Poppins.
The Spectacular Now - Dark, touching and superbly acted, the year's best teen drama.

The Worst Films of 2013

The Worst Films of 2013

A Madea Christmas - Madea is back for her worst film yet, along with Larry the Cable Guy.
Grown Ups 2 - Adam Sandler sequel. Need we say more?
Movie 43 - What a horrible, horrible waste of many talented actors. The biggest mess of the year.
Scary Movie 5 - Um, no thank you. Not at all.
After Earth - Will and Jaden couldn't save this awful tribute to Scientology.
The Lone Ranger - How do you waste $200 million? Watch this movie to find out.
The Hangover Part III - Did we really need another? No. The worst by far of the three in this series.
Getaway - Selena Gomez and Ethan Hawke in the year's worst action film.
R.I.P.D. - Another summer stinkeroo, with a super annoying Jeff Bridges and Ryan Reynolds.
Paranoia - Harrison Ford and Gary Oldman went down in flames in this uber-flop.

Not the worst, but the Biggest Disappointments:

The Secret Life of Walter Mitty - I was expecting so much more from Ben Stiller. Love Kristen Wiig though.
Man of Steel - The first half of this was great. Then it turned into "Superman" versus "Transformers" and it fell apart. And went on and on much too long.
Grudge Match - Considering the talent, including Stallone and DeNiro (phoning in another take-the-money-and-run performance), not to mention Alan Arkin and Kim Basinger, it's a huge disappointment.
The Great Gatsby - Sure, the film was a big hit. The visuals were stunning, the empty story disappointing.
Oz: The Great and Powerful -  This lackluster, grating prequel to "The Wizard of Oz" featured shoddy special effects, a smirking James Franco and an annoying talking monkey.

The Most Overrated Films of the Year

These films are also not bad per se, but not worthy of all the excessive critical praise heaped on them.

The Place Beyond the Pines - The handsome Ryan Gosling continues to be one of cinema's most intriguing actors, but this heavy-handed, overlong drama was uneven, slow and sluggish. As least the section with Gosling was the best part of the film.
Prisoners - This drama starring Hugh Jackman and Jake Gyllenhaal was well-acted and stirring, but also slow-moving and epically overlong (2 hours, 33 minutes) for a crime drama. It also misused one of my favorite actresses, Viola Davis.
Anchorman 2: The Legend Continues - I may get some flak for this one, as it has many fans from the 2004 film. Will Ferrell is a talented, often funny comedian, but the problem is that excessive stupidity is truly funny for about 5 minutes, better suited for a sketch (or in commercials) than a 115-minute movie. Its 74% "Fresh" rating on Rotten Tomatoes is genuinely baffling.
Lee Daniels' The Butler - The movie is mildly entertaining and well-acted, especially by Forest Whitaker, but it has many more flaws, including weak plotting, overacting by Oprah and a gallery of distracting cameos by actors who look nothing like the historical figures they're supposed to represent (except for Jane Fonda, memorable as Nancy Reagan). Baffling is the number of SAG Award nominations it received.

Saving Mr. Banks - B+

Rated PG-13, 120 minutes

Touching "Saving Mr. Banks" will be one of your favorite things this holiday season

Tom Hanks and Emma Thompson

Poignant and superbly acted by two brilliant, Oscar-winning actors, "Saving Mr. Banks," the story behind the making of the classic Disney film "Mary Poppins," is one of the year's best films. P.L. Travers (Emma Thompson) goes to Hollywood to assist with the making of the musical "Mary Poppins" based on her series of books, she struggles with the upbeat adaptation helmed by Walt Disney (Tom Hanks) as she thinks back on her rough childhood and her father (Colin Farrell) who was the inspiration for the story's patriarch, Mr. Banks. Directed by John Lee Hancock ("The Blind Side") and written by Kelly Marcel and Sue Smith, "Saving Mr. Banks" is a stirring, affecting look at the story behind a Disney classic film, grounded by two winning, Oscar-worthy performances from Hanks and particularly from Thompson as Travers. Hancock smoothly blends the flashbacks with the current day story, though it's far more effective as a behind-the-scenes tale, which have the most entertaining scenes. Paul Giamatti, B.J. Novak ("The Office"), Jason Schwartzman ("Moonrise Kingdom") and Bradley Whitford ("The West Wing") all contribute strong supporting turns as Travers chauffer, the songwriting duo The Sherman Brothers and screenwriter Don DaGradi, all of whose jobs were not made easy by the persnickety, opinionated Travers. Though you have a sense of where the film is going, especially if you know how the hit film "Mary Poppins" turned out, "Saving Mr. Banks" is very touching, with the Thompson-Hanks chemistry the most memorable part of the film; there are a couple of scenes near the end of the film that only underscore this, particularly Hanks' final monologue to convince the need to turn over the rights to the film, and Thompson's emotional outpouring while watching the completed film. Just as Travers and her Mary Poppins were an escape from a particularly sad, rough upbringing, "Saving Mr. Banks" is a fascinating, often wonderful escape to another world. Stay over the credits to hear the real Travers on tape as she bosses the Disney crew around.

Wes's Grade: B+

The Wolf of Wall Street - A-

Rated R, 179 minutes

Mesmerizing, overlong "Wolf of Wall Street" is Scorsese and DiCaprio's tribute to excess

Jonah Hill and Leonardo DiCaprio

It's hardly ironic that acclaimed, award-winning film director Martin Scorsese and his current muse, Leonardo DiCaprio, would make a three-hour film about Wall Street excess and debauchery. It's also to Scorsese's credit as a remarkable filmmaker that his three-hour epic film "The Wolf of Wall Street" (based on a true story) is rarely dull, darkly funny and vastly entertaining. DiCaprio is real-life Wall Street investor Jordan Belfort, who becomes an overnight success and starts his own company with Donnie (Jonah Hill), selling penny stocks to unwitting investors. Belfort lives, plays and works to excess, with a gorgeous wife (Australian actress Margot Robbie), a mansion, yacht, lots of drugs not to mention a FBI agent (Kyle Chandler) hot on his trail, ready to convict Belfort for his schemes. Based on Belfort's biography of the same name and written by "Boardwalk Empire's" Terence Winter, Scorsese's charming Wall Street is a spellbound, well-acted tale from the opening moments, full of so much sex, drugs and revelry that it puts Gordon Gekko to shame. "Wolf" isn't a film for everyone, but only Scorsese could get away with showing this much gluttony and so well that you think you're a part of it yourself (full female nudity and scores of cocaine lines fill the movie). DiCaprio commands the screen so powerfully and expertly, it's easy to see why Scorsese casts him so often The supporting cast is just as good: Matthew McConaughey makes a sublime but very brief appearance in the first act, and watch for Rob Reiner as DiCaprio's father, Jon Favreau as his lawyer and Jean Dujardin as a corrupt Swiss banker. Hill is also quite good as DiCaprio's portly business partner in crime, giving Hill, otherwise known for immature, low-brow comedies, his best role to date. Scorsese's three-hour film about excess and wild times is hardly surprising but also unnecessary, becoming so redundant by the time it gets to its second act that you have a sense that there's nowhere for Belfort to go but down. The entertaining "The Wolf of Wall Street" is full of dark, amusing moments and Scorsese's frenetic style, pacing and editing (from his usual, award-winning film editor Thelma Schoonmaker) fits the film perfectly. Yes, it's long and we get the point early on, but you won't look away, either. A must-see for Scorsese and DiCaprio fans.

Wes's Grade: A-

The Secret Life of Walter Mitty - C+

Rated PG, 125 minutes

Kristen Wiig and Ben Stiller

Enjoyable new version of "Mitty" a mixed bag

There's nothing really wrong with the likable, peppy new version of "The Secret Life of Walter Mitty," directed by and starring Ben Stiller and loosely based on James Thurber's 1939 short story and the 1947 Danny Kaye film, except that it's bland and unmemorable. When Walter Mitty's (Stiller) job at Life Magazine along with that of his co-worker Cheryl (Kristen Wiig, lovely) are threatened, Walter takes action in the real world embarking on a global journey to find a missing picture that will be used for the magazine's final print issue. "The Secret Life of Walter Mitty" is a pleasant but unfocused film with a few fun moments and a great cast, including Stiller, whose schlubby Mitty you want to hug. Yet this uneven "Mitty" loses its way midway through, and you never get a strong sense of what Mitty is trying to accomplish as he episodically goes from one adventure to another or when he daydreams of a better life, taking a trek across the world to discover who he really is. Sure, it's a worthy dream, but the script by Steve Conrad (B"The Pursuit of Happyness") lacks a strong emotional core, even if it uses the Bowie song "Major Tom" very wistfully. Wiig is a lovely addition given very little to do, as does Oscar-winners Sean Penn and Shirley MacLaine, respectively, but it's nice to see "Park and Recreation's" Adam Scott as a weirdly bearded bad guy. I liked this version of "The Secret Life of Walter Mitty" and it's filled with many pleasant moments, but it's mostly just good and not great.

Wes's Grade: C+

Justin Bieber's Believe - C

Rated PG-13, 92 minutes

Bieber's good, but bland "Believe" doc is for his fans only

Justin Bieber

All I wanted for Christmas is another Justin Bieber concert documentary, said absolutely no one, except for maybe his die-hard fans. "Believe" is the flavorless follow-up and sequel to his 2011 hit concert documentary, "Never Say Never" and again stars the popular pop singer in his element, directed by Jon Chu, who successfully helmed that first documentary. His large following will enjoy this bland limited-time offering from Bieber, which combines more concert music with behind-the-scenes footage, which supposedly gives insight into Bieber's personal life, as well as extensive interviews with the singer and his parents, his manager Scooter Braun and colleague Usher. For the rest of us over the age of 15 and unfazed by all the Bieber fever, this is seemingly excruciating, but it's not all unwatchable. Bieber is admittedly a talented musician, and the concert scenes are especially impressive and pop with energy, but the rest of it provides little more than a Tiger Beat-style depth and approach to Bieber. See him write music! See him cry! See him get dressed for his concert! Blah. For Bieber's next film, I would wait at least 5 years to see where he is in his twenties. It'll be revealing to see if he's still around at all. Bieber's popular fan base already has enough to "Believe" in him, and this will just give them more to scream about. For Bieber fans only.

Wes's Grade: C

Grudge Match - C

Rated PG-13, 113 minutes

A fine cast goes down for the count in predictable "Grudge Match"

Sylvester Stallone and Robert DeNiro

It's "Rocky" versus "Raging Bull" in the new comedy that's as old and tired as its two stars. Two retired Pittsburgh boxers (Sylvester Stallone and Robert DeNiro) settle a long-standing beef and hope to settle some debts by heading back into the ring one more time. Admittedly, there are a handful of few fun moments, mostly sarcastic one-liners, in the lazy "Grudge Match" but it grows redundant and weary by the end. Directed by Peter Segal ("Get Smart") this must have seemed much funnier in premise than what actually appears on screen, as many of the jokes may be lost on younger viewers unfamiliar with "Rocky" or "Raging Bull." The immensely likeable cast, including Stallone, DeNiro, not to mention comedian Kevin Hart, Kim Basinger and Alan Arkin are mostly wasted; Basinger seems lost, Arkin is his usually cranky self while the overrated Hart just mostly screams his lines. You have a sense of where this is going faster than you can countdown from 10, but there are a few entertaining moments as Stallone and DeNiro trade barbs inside and outside the ring (and honestly, these guys really are much too old for something like this, even in comedic form). The mildly enjoyable but forgettable "Grudge Match" could've been much better, and the ubiquitous DeNiro in particular seems to phone it in, but it's worth a look for a couple of laughs.

Wes's Grade: C

Tyler Perry's A Madea Christmas - D-

Rated PG-13, 105 minutes

Perry's unfunny "Madea Christmas" lacks joy

Kathy Najimy, Larry the Cable Guy and Tyler Perry as Madea

It's not a good sign when you have Larry the Cable Guy and Madea in the same movie, both mugging for the camera incessantly while throwing one-liners. Tyler Perry's Madea is back in "A Madea Christmas," lacking joy, humor or any semblance of a good script.
Madea gets coaxed into helping her niece Eileen (Anna Marie Horsford) pay her daughter (Tika Sumpter) a surprise visit in the country for Christmas, but the biggest surprise is what they'll find when they arrive. New secrets are revealed and old relationships are tested while Madea dishes her own brand of Christmas Spirit to all. Directed, produced, written by and starring uber-force Perry, it provides his usual broad sense of over-the-top humor while spouting some good messages of family, love and friendship along the way. It's nothing new and still not very good (technically speaking, Perry is a sloppy, lazy film director and it shows in the finished product), and Perry's Madea, as usual, stomps off with the movie, but it will still appeal to his audiences. "A Madea Christmas" is really a string of episodes strung together, none of which you'll remember, though the utterly charming Madea gets in a few fun moments (his telling of an "R&B Nativity" to a group of kids midway is mildly amusing). Kathy Najimy, Horsford, along with Chad Michael Murray, Alicia Witt, and even Lisa Whelchel get in the act too, but overall "A Madea Christmas" is one of his least satisfying efforts, which is saying something (or maybe not) considering the quality of his Madea films. Joy to the world this isn't, though the film's soundtrack may be worth checking out instead of the movie.

Wes's Grade: D-

47 Ronin - C-

Rated PG-13, 127 minutes

Handsome, action-packed "47 Ronin" underwhelms

Keanu Reeves

The long-awaited, fantastical take on the legend of Japanese samurai, "47 Ronin" starring Keanu Reeves, is a handsomely mounted production peppered with some decent fight scenes but hampered by a muddled, tepid story and acting, particularly another wooden performance from its star. The outcast Kai (Keanu Reeves), illegitimate son of a British sailor and a Japanese peasant woman, joins a group of Ronin, led by Kuranosuke Oishi (Hiroyuki Sanada), who seeks vengeance on Lord Kira (Tadanobo Asano), a ruthless man who killed their master and banished the group. The Ronin embark on a journey with challenges that would defeat most warriors. A mildly entertaining but underwhelming, tepid take on a Japanese legend, "47 Ronin" is a Christmas-time disappointment that will likely be Universal's biggest flop in sometime, throwing some $200 million in a film that first started principal photography in early 2011. Directed by Carl Erik Rinsch ("The Gift") and co-written by Chris Morgan and Hossein Amini, it was delayed to finish updates to add 3D (it's also playing in 2D) along with some reshoots, though neither really helps the film. The CG visuals, photography and colorful costumes are handsome and some of the fight scenes are serviceably entertaining, but otherwise it has little going for it, adding some giants creatures and witches (Oscar nominee Rinko Kikuchi, the most memorable of the cast) to make up for the thin storyline and Reeves, who gives his worst performance in ages as the half-breed samurai, making it even more difficult to buy into this. "47 Ronin" is a bit of a mess, but it could be fun in the right moment, though it will be difficult to turn a profit off such a huge budget. This one is a rental, and you might not have to wait too long to do so.

Wes's Grade: C-

Mandela: Long Walk to Freedom - C+

Rated PG-13, 139 minutes

Idris Elba as Nelson Mandela

Well-acted "Mandela: Walk to Freedom" overlong, overly ambitious

The well-acted new drama "Mandela: Walk to Freedom" comes at an unfortunate time, following the recent death of South African leader and pioneer Nelson Mandela. It has a lot to live up to, and in spite of its strong performances and inspiring message, it tries to fit in as much as possible, becoming a Cliff's Notes version of the renowned leader's life. "Mandela: Walk to Freedom" is based on Mandela's 1994 autobiography of the same name, and spans a considerable amount of time, from Mandela's (played by British actor Idris Elba of the recent "Thor" films) childhood to early adult to prison time to South Africa's first black President, focusing on his rise to power and his marriage to Winnie ("Skyfall's" Naomie Harris). Directed by Justin Chadwick ("The Other Boleyn Girl") and written by William Nicholson ("Gladiator"), the film has big shoes to fill but suffers from a scattershot script that skims the surface of its larger-than-life source; it would've been more effective as a mini-series or focused on one aspect of Mandela's life, particularly his prison time that so shaped his views as a leader. As a result, there's a significant disconnect as Mandela transitions from violence to non-violence with little explanation why (it would've been nice to see the film explore his relationship with his jailer on a deeper level). The chief highlight of "Walk to Freedom" is the excellent, believable turns from from Elba, Golden Globe-nominated for his performance here, and the lovely Harris as his radiant but strong-willed wife Winnie. "Mandela: Walk to Freedom" squeezes in too much in its overlong running time, though it really wouldn't take much for us to see the courage in someone like Mandela, who struggled for the freedom of many. Mandela was a great man, but this disappointing film doesn't do him or his ideals justice.

Wes's Grade: C+

Out of the Furnace - C+

Rated R, 106 minutes

"Out of the Furnace" a slow, downbeat but well-acted tale of redemption

Christian Bale

The well-acted new drama "Out of the Furnace" has a superb cast, director and story though the depressing story doesn't live to the talent involved. Russell Baze (Christian Bale) has a rough life: he works a dead-end blue collar job at the local steel mill by day, and cares for his terminally ill father by night. When Russell's brother Rodney (Casey Affleck) returns home from serving time in Iraq, he gets lured into one of the most ruthless crime rings in the Northeast and mysteriously disappears. Directed and co-written by "Crazy Heart's" Scott Cooper,  it's a low-key, downbeat film peppered with a few powerfully strong moments, though overall it's an unsatisfying look at someone trying to redeem himself. Bale gives another believable turn and grounds the film well; he and Woody Harrelson, playing a terrific, slimeball villain, have some good moments together. The rest of the A-list cast, however, is largely underutilized. Affleck is good, but Zoe Saldana, Forest Whitaker, Willem Dafoe and Sam Shepherd have little to do in their fleeting moments on screen (particularly Whitaker, in a bafflingly small part). The second act in particular drags before it picks up again in its final, violent act. "Out of the Furnace" is a well-acted but uninvolving tale that lacks a strong narrative to have a huge impact. This one is definitely a rental.

Wes's  Grade:  C+

Anchorman 2: The Legend Continues - C

Rated PG-13, 119 minutes

Stupidity reigns supreme in overlong "Anchorman 2"

Will Ferrell as Ron Burgundy

Will Ferrell is a brilliantly funny comedian, but his comedic talents are wasted in the exceedingly tiresome, plodding comedy "Anchorman 2: The Legend Continues," a sequel to the 2004 cult hit "Anchorman: The Legend of Ron Burgundy. Peppered with some of Ferrell's typically funny chortles, it could've easily been condensed to a 5 minute sketch and accomplished much more. The 1970s are over and San Diego newsman Ron Burgundy (Ferrell) and his team have hit rock bottom until a 24-hour news channel is being developed and his team is recruited for it. Directed by Ferrell's go-to comedy director, Adam McKay, produced by Judd Apatow and co-written by Ferrell and McKay, "Anchorman 2" is a needless sequel in which the silliness keeps on going and going and going. On that note, it's a comedy of excess and mainly for fans of the original film, whose cast, including David Koechner, Steve Carrell, Christina Applegate and Paul Rudd, return for this outing as well. It's to Ferrell's credit that his promotion of the film through the recent Dodge Durango commercials have helped that car brand's sales, and Ferrell is funny in them, they're also only a minute or less. "Anchorman 2" channels its stupidity often and there are admittedly some funny moments, but they're scattershot and strung together, going on much longer for what it is. Fans of Ferrell and the original film will get a kick out of it, for the rest of us, to quote Burgundy himself from the film, "as a wise man once said: so."

Wes's Grade: C

American Hustle - A-

Rated R, 129 minutes

Jennifer Lawrence

"American Hustle" an entertaining, wild ride of who's conning who

The vastly entertaining "American Hustle" is a chic, contemporary version of the "The Sting" with some real events as its backdrop. Slick, fun and playful, it's superbly acted and directed. The movie is a fictionalized (or as the producers of the movie call it, "fictionalization") of the ABSCAM scandal o of the late 1970s, it tells the story of brilliant con man Irving Rosenfeld (Christian Bale), who along with his equally cunning and seductive partner Sydney Prosser (Amy Adams) is forced to work for a wild FBI agent Richie DiMaso (Bradley Cooper) while keeping Irving's unstable wife (Jennifer Lawrence) at bay. Directed and co-written by "Silver Linings Playbook" and "The Fighter's" David O. Russell, "American Hustle" is a smart, engaging crime drama that's most memorable for its brilliant, Oscar-worthy performances and characters.  With lots of feathery hair, plunging dresses and wide collars, it expertly evokes the feel of the 1970s like a shiny disco ball, and much like "The Sting," you have to watch carefully until the end to see exactly who's getting their con on. Russell's direction and writing is sharp and crisp, bringing to life the characters of this sordid tale, which is the chief reason to see the movie. Bale, in another method-y but layered turn as the plump, corrupt Irving (the film's opening scene is quite revealing), is at his best here and grounds the film superbly. Adams, as his soulmate in crime, gives one of her most believable turns yet, while Cooper is smooth and talky as the curly-haired FBI agent who may be in over his head. Oscar-winner Lawrence is most memorable: she's sensationally funny, charming and sad as the wife who can't keep her mouth shut; sure, it's the script's most showy role but Lawrence grabs it with tremendous appeal. Though it starts off a tad slow, character driven movies are rarely this fun (not to mention full of kitschy, familiar '70s tunes you'll hum along with), and Russell delivers another masterfully entertaining film in "American Hustle" with more winning performances at the forefront. One of the best movies of 2013, put this one your must-see list before the awards start pouring in.

Wes's Grade: A-

Inside Llewyn Davis - A-

Rated R, 105 minutes

Moody, funny "Inside Llewyn Davis" one of Coen Bros best

Oscar Isaac

The Coen brothers new film "Inside Llewyn Davis" is one of the year's best films, an masterful, moody and darkly funny look at the early 1960's New York City folks scene. The film follows a week in the life of young aspiring folk singer Llewyn Davis (the wonderful Oscar Isaac in a breakout performance) as he navigates the Greenwich Village folk scene of 1961. Guitar in tow and huddled against the unforgiving New York winter, Llewyn struggling as a musician against seemingly insurmountable obstacles-some of them of his own making. Loosely plotted, superbly acted and featuring some lively folk tunes, some old and some new from the Coen's and T. Bone Burnett (my favorite, which is already garnering accolades, sung by Isaac, Justin Timberlake and "Girls" Adam Driver is the peppy, short "Please Mr. Kennedy") which memorably highlight the film. Directed, written, edited and produced by the Coen's, it's one of their most insightful, masterful and affecting films of recent memory, with a standout performance from Guatemalan-born actor and singer Isaac, seen in last year's "Won't Back Down." With Timberlake, Driver, along with Carey Mulligan, John Goodman and a cat named Ulysses all in small roles, Isaac is well-supported in a film that's darker than it appears on the surface, though its grayness and darker shadings ultimately becomes part of its appeal. The moody "Inside Llewyn Davis," loosely inspired by the music of real NYC-based folks singers Dave Van Ronk and Ramblin' Jack Elliot, it's a superbly crafted film with a sheen of engaging pecularity and oddness that the Coen's do best, and it's a must-see film that's certain to win some awards.

Wes's Grade: A-

Walking with Dinosaurs - C+

Rated PG, 80 minutes

Educational "Walking with Dinosaurs" lovely to look at, offers little else

One of the dinosaurs in "Walking with Dinosaurs"

Meet dinosaurs more real than you've ever seen as you take off on a thrilling prehistoric adventure, where Patchi (Justin Long), with the help of prehistoric bird and story narrator Alex (John Leguizamo) an underdog dinosaur, triumphs against all odds to become a hero for the ages. "Walking with Dinosaurs" is produced by BBC Earth (this is based on its 1999 TV miniseries of the name) and is part educational, part narrative and a mixed bag. As an educational film for young children, it works best, as it stops to introduce all the prehistoric creatures each time a new one appears on screen. The film was shot by BBC Earth and director John Nightingale on location in Alaska and New Zealand, with the CG creatures added in later. The locals are lovely to look at and the dinosaurs very detailed, but there's not much else to keep the kids (and their parents), and even at 80 minutes, much of it seems like filler.  Also, it's odd that voices of the animals are voice-overs instead of moving along with the mouths of the creatures; even more odd some creatures "talk" while most do not at all. "Walking with Dinosaurs" is peppered with fun moments and educational for the young set, but outside of that there's little to offer a mainstream audience.

Wes's Grade: C+

The Hobbit: The Desolation of Smaug - B+

Rated PG-13, 161 minutes

Impressive visuals the highlight the richly entertaining "Desolation of Smaug"

Martin Freeman as Bilbo Baggins

Well, first things first. The second entry in the latest round of "The Lord of the Ring" films, "The Hobbit: The Desolation of Smaug," is better than 2012's "The Hobbit." With a leaner narrative, more efficient pacing and more sublime visuals, "Smaug" has more to offer than the slow-moving "Hobbit." This film continues the adventure of Bilbo Baggins (Martin Freeman) as he journeys with the Wizard Gandalf (Ian McKellan) and thirteen Dwarves, led by Thorin Oakenshield (Richard Armitage) on an epic quest to reclaim the lost Dwarf Kingdom of Erebor, battling a deadly, fire-breathing dragon named Smaug (voiced by Benedict Cumberbatch) in the process. Peter Jackson and company once more bring to life Tolkien's novel, and while the experience is usually a dense, lengthy one, "The Desolation of Smaug" underscores Jackson's expert ability to tell a story. Tolkien fans almost always get the most out of these films, and that is the case here, but "Smaug" is far more transparent and fun even for non-Tolkien fans (myself included, many of the characters names and locals are a blur), with a last act that is by far more rewarding than nearly any of the "LOTR" films. Unsurprisingly, the film is a first-rate technical achievement, featuring an Oscar-worthy score, photography and visuals, with the Orcs and the spiders the standouts of a film loaded with them; of course, the most sublime visual is the enormous, talking and fire-breathing dragon known as Smaug, who makes his long-awaited entrance nearly two-thirds of the way through. It helps that Smaug is voiced by a terrific character actor in Benedict Cumberbatch (seen as the villainous Khan in the latest "Star Trek" film), who memorably infuses Smaug with a silky yet baritone evil you won't easily forget. A nice addition to the cast is "Lost's" Evangeline Lilly, as the toughest female elf in Middle Earth, well-paired with returning cast members Orlando Bloom (as Legolas) and Ian McKellan's Gandalf, in a smaller role here. "Smaug" is a tad slow-going in the first act taking considerable time to get to the best parts of the film, but that last act won't disappoint, even with an ending that is a literal cliff-hanger as it flies off into the next and final chapter of this film series. "The Desolation of Smaug" is vastly entertaining, a great escape, and a must-see action fantasy film for "Lord of the Rings" fans and non-fans alike.

Wes's Grade: B+

Narco Cultura - B

Rated R, 103 minutes
In English and Spanish with English subtitles

Gripping, violent doc "Narco Cultura" shows how influential crime can be

Musicians in "Narco Cultura"

The fascinating new documentary "Narco Cultura" shows the growing impact of crime, in particular from drug traffickers on both sides the border, upon our pop culture, and how it's been romanticized and stylized through music and film, especially in Mexico. To a growing number of Mexicans and Latinos in the Americas, narco-traffickers have become iconic outlaws, glorified by musicians who praise their new models of fame and success. The film shows how they represent a pathway out of the ghetto, nurturing a new American dream fueled by an addiction to money, drugs, and violence. Disturbingly powerful yet relevant, "Narco Cultura" doesn't provide much answers but does show why the narco culture is so popular, in giving people hope for power and money. Directed and written by war photographer Saul Schwartz in his debut documentary film, the narco culture is similar to the impact of rap, hip hop and violent video games in the U.S.; the violence and bloodshed is abhorrent but it doesn't stop entertainers from profiting from it. The film alternates between showing the realities of drug trafficking with those profiting from it in the Mexican-American entertainment industries, glorifying it's romantic side of wealth and power. "Narco Cultura" doesn't hide the guns, the violence, the bodies, the drugs or the money (not to mention many grieving families); remarkably, people in this culture realize these dangers even with all the success it may bring them. It's difficult but often mesmerizing to watch, and on that note it's outlook is rather depressing in that it provides little solutions except to let it die out in pop culture as people see the dangers of the lifestyle. "Narco Culture" isn't an uplifting film but it is an affecting, thought-provoking look at a culture that is unfortunately a way out for many.

Wes's Grade: B

Oldboy - C

Rated R, 104 minutes

Lee's remake of "Oldboy" a bloody disappointment

Josh Brolin

There are just certain things you don't mess with, and the 2003 Park Chan-wook classic South Korean film "Oldboy" is one of them. Mysteriously weird and haunting, that version of "Oldboy" has achieved legendary status over the last 10 years, and it comes as no surprise that there would be an American remake. The new Spike Lee version is suitably downbeat and violent, and in spite of a few entertaining moments, it's a misfire. Joe Doucett (Josh Brolin), an advertising executive, is kidnapped and held prisoner for twenty years in solitary confinement. After he is suddenly released, he goes on a mission to find the person responsible for his imprisonment, later discovering that his life is still caught in conspiracy and torment. This unnecessary, unsatisfying 2013 remake of "Oldboy" is well-cast and sometimes pops with bloody energy, but overall Lee's version is a bit tame, exhausting to watch and in spite of a lot of small changes to the original film, doesn't improve upon anything. Brolin is a likably gruff but bland protagonist who lacks widespread appeal; even better is Sharlto Copley ("District 9") as a slimy millionaire pulling the strings in this sordid affair, while Samuel L. Jackson has fun as another lower level villain. "Oldboy" is what it is - an old fashioned revenge flick - but the twists and turns (especially in the last act) here lack the mystery of the original and underscore how ridiculous it all seems. There are a couple of torture scenes that are both excruciating and fun to watch, depending upon your level of tolerance for this type of thing; however, the fight scenes are where Lee clearly falters, those scenes are sloppily choreographed and seem a haphazard addition, only proving that Brolin, while demonstrating decent acting chops, is out of his league when it comes to martial arts. "Oldboy" has a few entertaining moments and overall it isn't terrible, but bottom line it was a mistake to remake a classic thriller. Skip this one and rent Chan-wook's much more satisfying film instead.

Wes's Grade: C

Nebraska - A-

Rated R, 110 minutes

Bruce Dern and Will Forte

"Nebraska" is Payne's melancholy look at old age, the midwest

Director Alexander Payne ("The Descendants") is back with a well-acted, pensive and quirky black and white character-driven piece "Nebraska" starring Bruce Dern as a cranky Missouri father who's convinced he's won a million dollar magazine sweepstakes, and Will Forte as his son who grudgingly agrees to drive him to Nebraska to claim his winnings. Payne's slice-of-life Americana is sometimes stark, darkly funny and often very poignant, appealing to sensibilities we probably didn't know we had. "Nebraska" features one of Dern's best performances as the old codger and alcoholic with a dream of a better life, and expect plenty of accolades to be thrown his way (he's already won Best Actor at Cannes). Also strong is "Saturday Night Live" vet Forte as his long-suffering son and especially character actress June Squibb as his loud-mouth, equally cranky wife, who steals every scene she's in, providing the film with some of its best lines. If Squibb (also seen briefly as Jack Nicholson's wife in Payne's similarly-themed "About Schmidt") is the most memorable, then Dern's portrayal is the more internalized, fully realized portrayal; it's a nice contrast to see the younger son in his right mind aimlessly drifting coupled with the off-kilter Dad who knows exactly what he wants. Speaking of which, Dern (who admittedly looks like hell here) nails the part perfectly, nicely shaded and underscored by Payne's strong script and the lovely black-and-white cinematography, shot on location in the midwest by Phedon Papamichael, who Payne has used before in "Sideways" and "The Descendants." The film meanders some and its outlook a bit depressing, but it's poignant, sad, funny and touching, expertly handled by Payne and his wonderful cast, particularly all the old folks he gets together in the family scenes. "Nebraska" isn't Payne's all-time best (that belongs to Clooney and "The Descendants"), but it's still a fine, layered film and one of the year's best. Expect plenty of awards for the film, including writing, direction, photography and acting.

Wes's Grade:  A-

Frozen - B-

Rated PG, 85 minutes

Olaf the snowman

Charmingly familiar "Frozen" will warm the heart

As Vanilla Ice would say, it's "ice ice, baby" which is exactly what the new Disney animated movie musical "Frozen" is about. Loosely based on the Hans Christian Andersen fairy tale "The Ice Queen," this charming, wistful version is a cross between "Tangled" and "Enchanted" with a little snow and music thrown in for good measure. The kingdom of Arendelle has two sister princesses, Elsa (Indina Menzel) and Anna (Kristen Bell). The older Elsa has the ability to create snow and ice but the power suppressed to keep from hurting her sister and others. When Elsa's magic is unleashed and the kingdom becomes under a permanent winter the fearlessly optimistic Anna, mountain man Kristoff (Jonathan Groff) and magical snowman Olaf (Josh Gad) must work together to make Arendelle a warm place again. Directed and co-written by Chris Buck ("Tarzan" and "Surf's Up"), the winning, cheerful "Frozen" is familiar but engaging enough for the whole family. "Frozen" is most memorable for it's slick, colorful CG animation and the peppy, original songs from husband-and-wife songwriting team of Robert Lopez and Kristen Anderson-Lopez. On that note, Tony-award winner Menzel (who also was part of "Enchanted") is the standout here, belting out the film's best tune, "Let It Go," that will certainly be nominated for an Oscar. Gad is also a hoot as the lovable snowman Olaf, who doesn't even realize he's a snowman. The creaky and predictable story has the film on thin ice narratively, especially mid-film, but it picks up steam in the final act for a heartugging ending. "Frozen" is cheerful, colorful and endearing, and will be best remembered for the music and not the story.

Wes's Grade: B-

Philomena - B+

Rated R, 95 minutes

Dench superb in the touching, bittersweet "Philomena"

Judi Dench and Steve Coogan

Oscar-winner Judi Dench, contrary to popular reports, isn't going blind nor quitting acting, and after her tender, sweet turn in the new film "Philomena," you'll be glad. Based on the 2009 investigative book by BBC correspondent Martin Sixsmith, "The Lost Child of Philomena Lee," the movie "Philomena" focuses on the efforts of Philomena Lee (Dench), with the help of Sixsmith (Steve Coogan), to find the son she was forcibly separated from in a convent in the 1950s. Directed by Stephen Frears ("The Queen") and co-written by Coogan, we love true, inspiring stories about stoic mums, and Dench nails this perfectly in a movie that could've easily been cheesily TV-movie sentimental. Instead, Dench finds the humanity in another Oscar-worthy turn, making Philomena perfectly imperfect and honest while still tugging at the heart strings. Coogan, known more for his strictly comedic roles, gives balance and humor to the film as he uncovers more of Philomena's story, and he and Dench share a warm, guarded chemistry evident throughout the film. "Philomena," much like the lead character, isn't perfect as it unevenly alternates between the sweet and the dark, but Dench and Coogan make for a solid pairing and rise above the script's flaws. Get the tissues out by the bittersweet ending, you'll need them, but most importantly, you'll remember Dench's memorable, funny performance that is already earning her accolades. Honest, warm and touching, put "Philomena" on your list to see this holiday season.

Wes's Grade: B+

Homefront - C-

Rated R, 95 minutes

James Franco

Forgettable, lazy thriller “Homefront” entertains with Franco as Gator 

The standard, by-the-numbers and lazy thriller “Homefront” is a joke of a movie, and it’s not even a comedy. Written and produced by Sylvester Stallone, which could be its main joke, the worst part is how predictable, dumb and manipulative it is, though you won’t be bored by much of the action. Jason Statham is a widowed, ex-DEA agent Phil Broker, who settles in small town Louisiana with his young daughter (Izabela Vidovic), but finds his quiet life turned upside down when his path crosses with a band of low level drug traffickers led by Gator (James Franco). Directed unmemorably by Gary Fleder (“The Express”),except for the high kicks provided by Statham, this is a largely forgettable effort, which features some of the dumbest criminals this side of Mayberry. We wouldn’t expect much from Statham, who generally makes these types of things with the “Transporter” films or “Deathrace,” so the real surprise here is finding a decent actor like Franco slumming it in a B-grade action film for a paycheck (he should’ve known this by his character’s name, Gator). In addition to Franco is an ultra-thin Kate Bosworth and scummy Winona Ryder, also playing bad folks, both of whom obviously needed to collect some sort of paycheck for this. The action and some of the bad dialogue (when Franco introduces himself as Gator, you can’t help but giggle) are actually fun at times, but you won’t be a bit surprised and when and how the bad guys meet their fate. Statham’s fan base may turn out for it, but you’ll like find on DVD and pay-per-view pretty quickly. Forgettable, easy and mindless entertainment, “Homefront” comes recommended only if you know what you’re getting into, which isn’t much.

Wes’s Grade: C-

Black Nativity - C+

Rated PG, 93 minutes

"Black Nativity" shines as long as Hudson's onscreen
 

Jennifer Hudson

"Black Nativity" is a loose, modern-day retelling of the Langston Hughes classic Christmas muscial from Kasi Lemmons, the director of such films as "Talk to Me" and "Eve's Bayou." Lemmons' interpretation is uneven and narratively weak, but the music is powerful and it benefits from a strong last act. After his mother, Naima (Jennifer Hudson), is evicted from their Baltimore apartment, teenage Langston (Jacob Latimore) is sent to spend the holidays with his estranged grandparents (Angela Bassett, Forest Whitaker) in New York City, where he learns the true meaning of faith, healing, and family. Directed and written by Lemmons and loosely based on the Hughes stage version, Lemmons version combines a few original songs, a contemporary story as well as the traditional "Black Nativity" retelling of the Christmas story, an ambitious, occasionally poignant but uneven interpretation. As a straight musical or a straight forward dramatic film, it would've worked better, though there are a couple of bright spots: anytime Hudson is onscreen, her booming, powerful voice looms over the rest of the cast and she is by far the most memorable voice. Lemmons' handling of the Christmas story as told by Hughes is well-staged but awkwardly integrated, with a small, memorable turn from R&B diva Mary J. Blige as the angel with a blond afro. The heart-tugging finale is very sentimental but features a satisfying message of forgiveness and hope that should please its target audience. Actors Bassett and Whitaker are well-placed, though it (in Whitaker's case fortunately) minimizes their singing voices and not their acting ability. "Black Nativity" is sentimental and without Hudson, unmemorable, though it will appeal to its target audience just fine.

Wes's Grade: C+

Kill Your Darlings - B

Rated R, 100 minutes

Daniel Radcliffe as Allen Ginsberg

Well-acted, beguiling tale of murder in "Kill Your Darlings"

The offbeat, copacetic "Kill Your Darlings" is part bio and part real-life murder tale that's weird enough to make you think it wasn't true. "Harry Potter" star Daniel Radcliffe stars as Beat Generation icon Allen Ginsberg set during the famed poet's early years at Columbia University, and centering on a murder investigation involving Ginsberg, his handsome classmate Lucien Carr (Dane De Haan), and fellow Beat authors and friends William Burroughs (Ben Foster) and Jack Kerouac (Jack Huston). Directed and co-written by John Krokidas in his feature film debut, it's an auspicious, very stylish start for Krokidas, as "Kill Your Darlings" is a low-key but enticing tale made better by its attractive leads, especially from Radcliffe and De Haan ("The Place Beyond the Pines"). Radcliffe continues to make intriguing post-"Harry Potter" film choices, and he makes for an affecting, young Ginsberg, who was clearly infatuated with Carr, a fellow student and early Beat Generation pioneer. Heavily stylized and likely enhancing the relationship the men had, "Kill Your Darlings" is offbeat, a little weird but rarely dull. De Haan continues to emerge as a sturdy character actor, and his portrait of the manipulative Carr, who knew his way with vocabulary and getting what he wanted, is memorably sublime. Though the dark subject matter isn't for everyone, the well-acted, affecting and often entertaining "Kill Your Darlings" is worth a look.

Wes's Grade: B

The Hunger Games: Catching Fire - B

Rated PG-13, 146 minutes

Jennifer Lawrence

Lawrence sizzles in ambitious but thrilling "Catching Fire"

"The Hunger Games: Catching Fire" is the long-awaited sequel to 2012's blockbuster "Hunger Games," a gripping thriller that's more enjoyable and ambitious than the first film and won't disappoint the legions of fans of the book series, as well as others (myself included) who come out only to see its lovely star, Jennifer Lawrence, in action. Overlong but entertaining, well-paced and stuffed with some nice cast additions, "Catching Fire" works chiefly because of Oscar-winning lead actress Lawrence, who dazzles as the lead heroine and ably carries the film on her shoulders. In this outing, Katniss Everdeen (Lawrence) and Peeta Mellark (Josh Hutcherson) return home after winning the 74th Annual Hunger Games, only to be taken back out on an uneasy "Victory Tour" that has Katniss noticing signs of rebellion. Meanwhile, President Snow (Donald Sutherland) plans the 75th Annual Hunger Games, essentially an all-star version featuring former champions, including Katniss and Peeta, that could ignite the flames of rebellion as they risk their lives once more. Directed by Francis Lawrence ("Water for Elephants") and co-written by Simon Beaufoy and Michael Arndt, the well-acted "The Hunger Games: Catching Fire" has more substance and intensity than the first installment with more to accomplish this time out; with that in mind the first act drags and its best parts come later on during the actual games. The visuals, sets and the costumes are first-rate and far more elaborate this time, particularly another impressive dress that Lawrence rocks mid-film, and the large supporting cast is nothing short of stellar, with Woody Harrelson, Liam Hemsworth, Sutherland, Stanley Tucci, Lenny Kravitz and Elizabeth Banks (as outrageous as ever as Effie) all reprising their roles, though it's the new cast additions who will generate more buzz. Sam Claflin, Jena Malone, Jeffrey Wright and Oscar-winner Philip Seymour Hoffman are the most memorable of these, adding more texture to the film and easily outpacing the blandish Hutcherson, whose Peeta seems a little lost this time out. "The Hunger Games: Catching Fire" is really a futuristic, deadly cross between "Survivor" and "Amazing Race," and on that note, it goes on too long and tries to accomplish too much, but it picks up considerable energy once the games get rolling and doesn't let go until the end. Best of all is still Lawrence, who is sensational as Katniss and deserving of every minute of screen time she gets, and while the ending leaves you hanging as to her fate, I'm certain this won't be the last you'll see of her. Fans will get the most out of it, but it should pick up lots of non-fans in the process.

Wes's Grade: B

The Armstrong Lie - B-

Rated R, 122 minutes

Fascinating "Armstrong Lie" doesn't provide anything new

Lance Armstrong

The compelling, tragic new documentary “The Armstrong  Lie” from filmmaker Alex Gibney details the rise and fall of super-athlete and renowned cyclist Lance Armstrong and how, over time,  he doped his way into a record seven Tour de France championships.  Absorbing yet overlong, it doesn’t provide any additional revelations from what we already knew, though it has its share of entertaining moments thanks to Armstrong’s volatile, often testy personality. Gibney initially began the documentary in 2009 following Armstrong’s comeback then stopped when Armstrong became the focus of the doping investigations that eventually led him to confess he had in fact, doped and took illegal substances during the time in which he cycled in all of his championship races. Gibney’s anger with his often defiant subject is evident throughout, finally calling him a liar and a cheat for deceiving so many, and while Gibney’s assertions may be true, he only skims the surface of Armstrong’s lies and deception, adding little to what the general public already knows. He replays the Oprah confession and speaks to many of Armstrong’s teammates and colleagues, including his doctor Michele Ferrer and Frankie and Betsy Andreu, whose revelations helped propel the investigation into the doping allegations, who only confirm Armstrong’s actions. The central problem is Gibney’s scattershot approach, skimming over many of Armstrong's wins and instead heavily focused on his 2009 comeback, unsurprising given that Gibney already had considerable footage of this. This makes the film unnecessarily longer than necessary, not to mention it doesn’t provide further updates on one crucial character, his doctor Ferrer, and relies upon old footage he had when he started the doc.  However, Gibney's major coup is scoring updated interviews with Armstrong, which highlight the film as we see angry, often testy Armstrong of yesterday compared to the now older, more reflective Armstrong, who wanted to win at all costs and is now paying the price for those actions. Armstrong it seems is living the American dream and a tragedy at the same time.

Wes's Grade: B-

Delivery Man - B

Rated PG-13, 105 minutes

Cobie Smulders and Vince Vaughn

It's nothing new, but charming "Delivery Man" will win you over

The most unfortunate thing about "Delivery Man" is that it's released on the same day as the new "Hunger Games" movie, which will dominate the weekend in every way. For those who could care less about what Katniss Everden catches, you'll want to catch the affable, winning new comedy "Delivery Man" which provides Vince Vaughn with his best comedy in years. David Wozniak (Vaughn) learns that as a sperm donor with the alias "Starbuck", he has fathered 533 children. When a large group of them petition the sperm bank to reveal his identity, David has to decide whether or not to come forward. Simultaneously, his pregnant girlfriend (Cobie Smulders) is deciding whether he would make a suitable father. Directed and co-written by Ken Scott, "Delivery Man" is a remake (nearly shot for shot) of Scott's enjoyable 2011 French-Canadian film "Starbuck," its pleasantries lie chiefly with its likable cast rather than its overly sentimental, predictable story. Like many, I've grown very annoyed with Vaughn's excessive talkiness of late, but Scott dials down Vaughn's usual blathering to focus on character and "Delivery Man" is actually his most mannered, charming performance in years, and he carries the film nicely. "How I Met Your Mother's" Smulders is lovely but given little to do, though Chris Pratt of "Parks and Recreation" is a genuinely funny addition as Wozniak's inexperienced lawyer. Have the tissues handy by the time it gets to its touching finale and whether or not all of these sperm babies get to meet their real dad. "Delivery Man" is worth your time and one of 2013's better comedies, if you can wade through all the "Hunger Games" hoopla at the multiplexes this weekend.

Wes's Grade: B

The Book Thief - B

Rated PG-13, 125 minutes

Well-acted "Book Thief" is moving in spite of familiar themes

Sophie Nelisse, Emily Watson and Geoffrey Rush

"The Book Thief" is the affecting new World War II drama set in Nazi Germany that will steal your heart in spite of some familiar themes. Based on Markus Zusak's best-selling 2005 novel of the same name, it's the story of young Liesel Meminger (Sophie Nélisse). After she finds her first book beside her brother's graveside, she is sent to foster parents Hans (Geoffrey Rush) and Rosa (Emily Watson). While in the comfort of her new found parents, World War II breaks out and Rosa and Hans shelter a Jewish refugee named Max (Ben Schnetzer). Directed by "Downton Abbey" director Brian Percival and written by Michael Petroni, it's a faithful adaptation of Zusak's book, with enough poignant moments to make it emotionally satisfying. With a young ingenue at the center who keeps a diary in Nazi Germany, it's certain to evoke memories of "The Diary of Anne Frank," though the story itself is completely different. "The Book Thief" will be most remembered for two things: the strong performances and its tragic ending (take plenty of tissues). Canadian teen actress Nelisse ("Monsieur Lazar") anchors the film well in a touching, believable turn as the young girl who escapes reality with the help of many books, while Watson and Rush are perfectly cast as her slightly older foster parents who love each other in spite of their harsh circumstances. It's a little plodding, particularly in its middle act and it goes on a little too long, but its themes of love, family and acceptance (not to mention Death, who serves as the film's narrator) should resonate to those who enjoy a good drama and a good cry. Definitely worth a look.

Wes's Grade: B

The Best Man Holiday - B-

Rated R, 123 minutes

Sanaa Lathan and Taye Diggs

Soapy, entertaining "The Best Man Holiday" is familiar fun

The new comedy "The Best Man Holiday" is part soap opera, part holiday movie and all mostly enjoyable, if not overly familiar, fun. This is also a sequel to the 1999 romantic comedy "The Best Man" and if you enjoyed that film, you should enjoy this one too. When college friends (Taye Diggs, Sanaa Lathan, Terrence Howard, Morris Chestnut, Harold Perrineau, Regina Hall, Melissa De Sousa, Nia Long and Monica Calhoun) reunite after 15 years over the Christmas holidays, they will discover just how easy it is for long-forgotten rivalries and romances to be ignited. Directed and written by Malcolm D. Lee, who wrote and directed the original film, "The Best Man Holiday" is a sentimental, mildly entertaining soap opera as well as a revisionist look at what happens after you leave college. Overlong and lacking the cleverness of Lee's charming 1999 film, it's held together by the talented, engaging cast including the still-handsome Diggs and Chestnut and the always-lovely Lathan and Long, though the pot-smoking Howard has the most fun, stealing every scene he's in. It also has a little something for everyone, throwing in pregnancy, sex and tragic illness to remind us to stay close to our loved ones this holiday season. "The Best Man Holiday" is nothing new yet is enjoyable, predictable entertainment that will have you reaching for tissues by the time it reaches its sentimental finale. Even better is the movie's soundtrack features some classic holiday tunes by such R&B artists as Monica, Mary J. Blige and John Legend.

Wes's Grade: B-

Dallas Buyers Club - B

Rated R, 117 minutes

Brave performances highlight the inspiring "Dallas Buyers Club"

Matthew McConaughey as Ron Woodruff

The new film "Dallas Buyers Club" is not an easy film to watch, but it's an inspiring look at the AIDS crisis of the 1980s and the absorbing, moving performances will stay with you much more than its generic script. Ron Woodruff (Matthew McConaughey) is a straight Dallas, Texas electrician by day, and rodeo party boy by night, and also a heavy drug user.  He contracts HIV and is given only 30 days to live. When heavy doses of AZT don't work, with the help of his doctor (Jennifer Garner) and a fellow HIV patient, a transgender man named Rayon (Jared Leto), he forms the Dallas Buyers Club and begins buying and selling unapproved FDA drugs in exchange for monthly memberships. Directed by Jean-Marc Vallee and written by Craig Borten and Melisa Wallack and based in part on a lengthy Dallas Morning News Article about Woodruff, "Dallas Buyers Club" is most memorable for the mesmerizing, very brave turns by McConaughey and Leto, both strikingly emaciated and charming at the same time and under their guise, HIV has never been more entertaining. Both should and will be remembered come Oscar time, and it's a testament to their talent that the acting is better than the movie itself as both actors hold the screen and will hold your interest, even when the script doesn't. The downbeat story is a challenge to present, altering many characters and facts (Garner and Leto's characters are among the many composite characters here), and as shocking as some of the homophobic slurs still are, they otherwise don't truly present anything new. The primary point is to show how Woodruff overcame his own fears to work with others in fighting the disease, and on that note, it's an honorable one. "Dallas Buyers Club" is a flawed film (it wasn't even filmed in Dallas), but it takes on risks of a provocative subject matter, and for that reason it comes recommended, both satisfying and enormously entertaining.

Wes's Grade: B

Thor: The Dark World - B

Rated PG-13, 111 minutes

Entertaining "Thor: The Dark World" busy but rarely dull

Chris Hemsworth and Natalie Portman

"Thor: The Dark World" is the sequel to the 2011 hit "Thor" and continues the adventures of the Marvel/Stan Lee character also featured in last year's "The Avengers." Entertaining, slick and busily filled with CG special effects, it has a new director and a new video game tone that should make it a big hit even if you're not a comic book enthusiast. In this outing, Thor (Chris Hemsworth) battles some evil Dark Elves led by Malekith (Christopher Eccleston) who have been awakened more powerful after being banished into the depths of space by Thor's grandfather and who are threatening to plunge the universe into darkness. Scientist Jane Foster (Natalie Portman) has been thrust in the middle of the action once again and may hold the key to Thor's survival, which is now dependent on working with his adoptive brother and chief nemesis, Loki (Tom Hiddleston). "Thor: The Dark World" is a fast-paced superhero action film that often sacrifices character and plotting for loads of special effects, but you won't find yourself bored, even if it's not as good as the first "Thor" installment. This may be due to the fact that TV director Alan Taylor takes over the directing duties this time from Kenneth Branagh, who helmed the first film with aplomb. Still, moves along well and doesn't disappoint with some well-placed energy, but the story and romance are weaker and suffers from the excessive, albeit sublime visuals which fill the film from start to finish. Hiddleston, who is the most interesting superhero villain to come along in some time, is given less to do here but is still the most memorable of the large cast, many of whom, including Anthony Hopkins, Rene Russo, Kat Dennings and Stellan Skarsgard, reprise their roles from the first film."2 Broke Girls" Dennings in particular gives this some much needed comic energy that saves it from taking itself a little too seriously while Hemsworth earnestly broods just fine as the titular character, hopefully pleasing fan boys and non-Marvel fans alike. "Thor: The Dark World" plays like "Thor: The Video Game" peppered with a little bit of "Star Trek" and it's not as dark as it could've been, but enjoyable nonetheless. Watch for an amusing cameo from Captain America mid-movie and don't forget to stay for a couple of additional post-credits scenes which may add insight to the next "Thor" installment.

Wes's Grade: B

Free Birds - C

Rated PG, 91 minutes

Unoriginal "Free Birds" pleasantly flies with energy

Owen Wilson and Amy Poehler

The fun but unoriginal new animated movie "Free Birds" is hardly anything new, but it moves along so pleasantly and is so charmingly voiced you can overlook its flaws. After being pardoned by the President of the United States, Reggie the Turkey (Owen Wilson) lives a comfortable life at Camp David enjoying pizza and telenovelas. On the other hand, athletic Jake (Woody Harrelson) is the president and the only member of Turkeys Liberation Front. Jake kidnaps Reggie and they travel back in time to the first Thanksgiving to prevent turkeys from becoming the traditional holiday meal. Directed and co-written by Jimmy Hayward of "Horton Hears a Who," "Free Birds" is as happy, predictable and enjoyable as a Thanksgiving meal: you've seen it before many times and is mildly satisfying but unmemorable. Wilson, along with Harrelson and Amy Poehler, all provide humorous voicing as turkeys, while the most inspired voice belongs to "Star Trek's" George Takei, as Steve, the time-traveling egg. The plot is as thin as giblet gravy and seemingly borrowed from many other movies, including "Star Trek," "Back to the Future" and in the finale, even "Braveheart" and peppered with some moments of adult humor that will fly over the heads of the kids. Still, the younger set shouldn't mind, and it flies along energetically and colorfully, with enough laughs to keep them engaged for a moment or two. "Free Birds" isn't on the level of Pixar though you may think twice about what you eat for Thanksgiving dinner this year.

Wes's Grade: C

Ender's Game - B

Rated PG-13, 114 minutes

Ambitious, slick "Ender's Game" is best when it entertains

Harrison Ford

"Ender's Game" is the long-awaited film version of the Orson Scott Card science fiction novel and it doesn't disappoint. Part heady science film and part action film, it succeeds more as the latter than the former. Well-acted, energetically paced and filled with some memorable visuals, it's one of the better science fiction efforts as of late. After an alien race called the Buggers attacks Earth in 2086, the International Fleet led by Colonel Graff (Harrison Ford) prepare for the next invasion by training the best young children to find another war hero to save the planet. Ender Wiggin (Asa Butterfield), a shy but strategically brilliant boy, is prepped by Graff to be the Earth's next great hope. Directed and written by Gavin Hood ("X Men Origins: Wolverine") and based on Card's 1985 novel of the same name along with a novel series, it's inspired, even gripping sci-fi entertainment, though it stumbles a little in trying to accomplish too much. The memorable, exciting visuals and a great cast, headlined by Ford and including Hailee Steinfeld, Viola Davis, Abigail Breslin and Oscar-winner Ben Kingsley as a facially tattooed war hero, though it's "Hugo's" young Butterfield (resembling a young Elijah Wood) who carries the weight of the film as Ender and a lot of heady emotion under those blue eyes of his in a star-making role. "Ender's Game" falters under a load of different themes, including military strategy, mental capabilities, violence (both simulated and real) and genocide, and many of those themes may be too heavy for a young audience. It's best to sit back and enjoy the film's throbbing score, action and a load of colorful CG special effects, particularly in the film's rousing, climactic battle scene. "Ender's Game" ends but truly doesn't end, leaving it open for more of these, and given the source material, there likely will be. "Ender's Game" is brisk, often thrilling entertainment as long as it keeps its head in the game.

Wes's Grade: B

Last Vegas - C

Rated PG-13, 105 minutes

Charming, predictable comedy “Last Vegas” doesn’t surprise

Morgan Freeman, Michael Douglas, Robert De Niro and Kevin Kline

The effusive new buddy-buddy comedy “Last Vegas” has some of the best actors in film and they do their best to make the thinly calculated but fun movie work above its lackluster script and direction. Michael Douglas, Robert De Niro, Morgan Freeman and Kevin Kline star as four senior citizens who have known each other for 60 years, who go to Las Vegas for a bachelor party to celebrate the marriage of Douglas’s character to a much younger woman (maybe this is a case of art imitating life), though they quickly find that Vegas is often better suited to those much younger. The crowd-pleasing “Last Vegas” mines the whole older-fish-out-of-water routine that has been done so much over the years, which is its primary problem: it’s nothing new and you know exactly where its going. If it weren’t for all of its Oscar-winning actors, all on screen for the first time together, this would be completely forgettable. Also starring lovely Oscar-winning actress Mary Steenburgen along with TV actors Romany Malco (“Weeds”) and Jerry Ferrara (“Entourage”), it’s a flimsy excuse to get these guys together onscreen, though admittedly fun at times, with Freeman and a miscast Kline (he is too young for this) seemingly having the most fun, though one humorous exchange occurs when the men judge a bikini contest with unexpected results. Unmemorably directed by Jon Turtletaub (“National Treasure”) and written by Dan Fogelman (“The Guilt Trip”), it’s a little on the TV sitcomy side, given how neat and pat everything is resolved by the end, especially after the big bachelor party, which is actually an anti-climactic letdown of sorts. Mildly entertaining in a tame way and beneath the talents of all involved (particularly De Niro and Douglas) , “Last Vegas” will be forgotten much sooner than any of their long acting careers.

Wes's Grade: C