Tyler Perry's Temptation - D+

Rated PG-13, 111 minutes

"Temptation" is a slow, awkward effort from Perry

Vanessa Williams and Kim Kardashian

There's a lot to say about "Tyler Perry's Temptation: Confessions of a Marriage Counselor" and not all of it is bad, but not all good, either. Though one of Perry's more compelling efforts (which may not be saying much compared to all the Madea movies he's done), it's still slow-moving, dramatically flat and awkwardly staged. Judith (Jurnee Smollett-Bell), a marriage counselor, is married to her childhood sweetheart and pharmacist Brice (Lance Gross) yet becomes bored and frustrated personally and professionally, beginning a torrid affair with a client (Robbie Jones) without fully realizing the consequences of her actions. "Temptation" is being advertised as something bold from Perry is a second-rate effort that plays more like a Lifetime movie of the week, which is unfortunate for such a gifted, attractive performer such as Smollett-Bell. Smollett-Bell, who has been acting since she was a child (most memorable in the excellent "Eve's Bayou") could've benefited from a better script and direction, and the film takes much too long for it's story to really develop. Perry is a gifted performer himself (he doesn't appear here though) but further casts doubt on his abilities by casting reality star Kim Kardashian as a drawing card, not to mention miscasting Vanessa Williams in a ridiculous role and wasting Brandy Norwood on one of Perry's trademark battered women subplots. Thankfully, Kardashian's best friend/co-worker role is minimal, but any part, even a small one, shows that Kardashian is little more than a reality personality with no acting skills. As with many Perry efforts, it becomes a tad preachy near the end as the main character pays for her actions, with a cause-and-effect simplicity that lacks the boldness or originality the trailers give it. "Temptation" (and Perry needs to realize it's not temptation if you actually go through with it) should no doubt please Perry's fan base, and while the film is peppered with a few PG-13-esque steamy moments, it's an otherwise pale effort who trades one buxom woman (Madea) for another (Kardashian) as its drawing card, both with dubious acting skills. Not worth your time, though I wish for better material in the future for Smollett-Bell.

Wes's Grade: D+

G.I. Joe: Retaliation - C-

The Rock

Rated PG-13, 94 minutes

Mindless, jelly donut fun in the energetic "G.I. Joe" sequel

"G.I. Joe: Retaliation" is the sequel to the 2009 hit "G.I. Joe: The Rise of the Cobra" and no less energetic and ridiculous. The ubiquitous Dwayne "The Rock" Johnson stars in this 3D action film that's as mindless and ludicrous as they come but still filled with the same likable, gooey energy of jelly donut and about as smart as one. In this installment, the bad guys have overtaken the U.S. government, with Zartan (Arnold Vosloo) impersonating the President (Jonathan Pryce) and working with Firefly (Ray Stevenson) and the Cobra Commander (Luke Bracey) to overtake the world. After nearly being destroyed, it's up to a remnant of the G.I. Joe's, Roadblock (The Rock), Flint (D.J. Cotrona), Lady Jaye (Adrianne Palicki) with special help from General Colton (Bruce Willis) and Storm Shadow (Lee Byung-hun) to save the day. Filled with an energetic silliness that will please fans of the original hit film and those clamoring for an action film this time of year, "G.I. Joe: Retaliation" is directed by Jon Chu, who directed a couple of the "Step Up" films and directs here with the same shallowness, lack of subtlety and flash of the music videos he's known for. Delayed from last summer to add 3D, which doesn't really help or hurt the film, I won't be a spoilsport about it, but Channing Tatum's role is very minimal (he disappears in a flash) and Willis' role comes very late in the film. As it is, the biggest star here is neither Willis, Tatum or The Rock, but lean and mean South Korean actor Byung-hun as Storm Shadow, who reprises his role from the first film and is by far the best fighter in the film. There's also truly one thrilling extended action scene midway through that essentially saves the film, involving Byung-hun and Snake Eyes (Ray Park), with much of the action taking place along the sides of snow-capped mountains and leaving you breathless for those few minutes. As for the rest of the film? Not so much. Much like the aforementioned jelly donut, "G.I. Joe: Retaliation" is strictly a fast-paced glob of silly entertainment fashioned for the masses. Go if you must, but leave your brain at the door.

Wes's Grade: C-

The Host - B-

Rated PG-13, 125 minutes

Myers' "The Host" a serviceable sci-fi flick

Saoirse Ronan

"The Host" is the new sci-fi film based on the novel of the same name from "Twilight's" Stephanie Meyer. Good news: "The Host" is not "Twilight" and is actually a serviceably entertaining, though slow-moving science-fiction film.  When an unseen alien enemy threatens mankind by taking over their bodies and erasing their memories, Melanie Stryder (Saoirse Ronan), now known as Wanderer/Wanda with her new alien body, will risk everything to protect the people she cares most about - Jared (Max Irons), Ian (Jake Abel), her brother Jamie (Chandler Canterbury) and her Uncle Jeb (William Hurt), proving that love can conquer all in a dangerous new world. "The Host," directed by "Gattaca's" Andrew Niccol, seems poised to be the next new franchise film in the vein of "Twilight," though it bears little resemblance to the vampire-werewolves plotting of that film. It helps that the film is well-grounded by Ronan, an Oscar-nominated young actress who navigates the movie's romantic scenes with humor and grace along with the handsome Irons (Jeremy Irons' son) and Abel. The film's romantic triangle will most appeal to the "Twilight" set, who may be otherwise bored by the slow-moving film which may be a little annoying at first (it's just difficult to adjust to Ronan talking to herself so much). "The Host" is a slick, handsomely-mounted production with high-production values, and Niccol is an inspired choice to handle the film given his background with such films as "Gattaca," "The Truman Show" and "S1m0ne" and his adaptation of the film should please fans of the book. Overall, "The Host" is a much better film than any of the "Twilight" films, and while that may not be saying much, it's a much more tolerable, accessible effort, even with its familiar romantic themes and somewhat sluggish pacing. The modestly entertaining "The Host" is worth a look for Meyer's fan base and for those who enjoy a decent, servicable science-fiction film.

Wes's Grade: B-

Admission - C

Rated PG-13, 107 minutes

"Admission" lacks passion, wit

Tina Fey and Paul Rudd

Tina Fey and Amy Poehler were stellar hosts of the Golden Globes earlier this year, bringing a sharp sense of humor and a real eye for comedy. Unfortunately, that same sense of humor isn't found in Fey's flimsy, strained new romantic comedy "Admission," though the real culprit may be it's unfocused script and direction. Fey is straitlaced Princeton University admissions officer Portia Nathan. She strives to live by the book until she's dumped by her long-term boyfriend and colleague (Michael Sheen) and reconnects with an old college acquaintance John Pressman (Rudd). John is head of a small prep school and trying to get in a brilliant student named Jeremiah (Nat Wolff) into Princeton. He by-the-book approach to life changes as she falls for John and learns she may be Jeremiah's birth mother. Given the pedigree of the talent and director, Paul Weitz of "About a Boy" and "In Good Company," "Admission" is a real disappointment. It could've been funnier, sharper and certainly handled more efficiently for what it is: a female mid-life crisis comedy. Based on the novel of the same name by Jean Hanff Korelitz, the story lacks focus, passion and a genuine wit; instead, it's a weak string of mildly amusing episodes that don't really amount to much. Fey and Rudd are a cute pairing, but they're given little to do, as is the always hilarious Lily Tomlin, relegated to just a few scenes. The climax of "Admission," what little there is of it, is a particular disappointment given how much time is devoted to it. Now that her TV show "30 Rock" has ended, I was hoping for a stronger, smarter and sharper comedy from such a genuinely funny comedienne such as Fey, but "Admission" is not it.

Wes's Grade: C

Olympus Has Fallen - C

Rated R, 108 minutes

Popcorn flick "Olympus Has Fallen" is mindless entertainment

Morgan Freeman

Terrorists take over the White House and it's up to Gerard Butler to save us all from destruction. That's the simplistic plot of the ridiculous but entertaining action film "Olympus Has Fallen," which is violent and rousing enough to round up the masses (most of whom probably didn't vote in the last election) at the box-office. Butler is Mike Banning, a disgraced ex-Secret Service agent who is sent to a desk job after a tragic accident involving the President (Aaron Eckhart). North Korean terrorists later take over the White House, threatening to kill the President and start some serious trouble. The Speaker of the House (Morgan Freeman) and the head of the Secret Service (Angela Bassett) and their team work with Banning, who is trapped inside the White House, to save the President and our country. Directed by Antoine Fuqua ("Training Day"), "Olympus Has Fallen" is an absurd but often fun attempt to resurrect the 1990s "Independence Day"-type destruction is fun type of mentality. Fuqua and Butler, neither of whom have ever been regarded as subtle artists, take everything they've got and throw it at the screen, peppering it with absurd fun. Admittedly, they have an impressive all-star ensemble cast, including Butler, Freeman, Eckhart and Bassett (whose spunk I always love), not to mention Robert Forster, Oscar-winner Melissa Leo, Dylan McDermott, Rick Yune, Cole Hauser, and in unfortunately small role, Ashley Judd as the First Lady. The simplistic good guys-versus-bad guys, testosterone filled antics recalls something Willis, Harrison Ford or Schwarzenegger would do back in their day. On that note, "Olympus Has Fallen" is pure escapist, mindless entertainment so don't expect fully developed characters, plotting or any revelatory acting, just lots of action, explosions and copious amounts of violence and blood. The highly exploitative climax is only designed to rouse some sort of patriotism, but it's laughably ironic given that in real life our hero Butler is actually Scottish. A big-budgeted, forgettable movie if there ever was one, "Olympus Has Fallen" should profitably please the masses, but that doesn't mean it's actually good.

Wes's Grade: C

The Croods - B

Rated PG, 98 minutes

Colorful "Croods" provides familiar prehistoric fun

The Croods

The animated film "The Croods" deals with what could be known as the first family road trip. Entertaining, if not unoriginal, it's an energetic, colorful adventure that will most please the young set. The story deals with a young girl named Eep (Emma Stone), whose part of a cave family (Nicolas Cage, Catherine Keener, Clark Duke and the always peachy Cloris Leachman) whose main focus is survival by cave dwelling. When their home is destroyed, they set out to find a new home and encounter a young man aptly named Guy (Ryan Reynolds) whose fresh ideas keep them out of trouble. When their way of life is threatened, they must make a choice: stay put or try something new. Interestingly, "The Croods," while pleasantly entertaining, may seem too familiar in that it provides nothing original in terms of storytelling: think "The Flinstones" meets "National Lampoon's Vacation" with a splash of "Brave" for good measure. Admittedly, the crisp, bright animation of "Croods" is the best thing about the movie, even if the story doesn't provide a fresh palette; it's also nice that Cage in particular is doing something different than the ultra-cheesy action/horror films he's been earning paychecks with as of late. Stone and Reynolds are a nice pairing, though it's 80-something and "Raising Hope" star Cloris Leachman who manages to steal the best lines and giving the movie some kick. The film is peppered with enough swift action sequences (the opening scene is actually pretty fun) to cover the muddled plotting that gives little reasoning as to why this family hits the road. As it is, "The Croods," directed by the team who helped bring "How to Train Your Dragon" to life (this is also Dreamworks Animation), is above-average, serviceable family entertainment, something that the recent "Oz: The Great and Powerful" failed to do.

Wes's Grade: B

Ginger & Rosa - B

Rated PG-13, 90 minutes

"Ginger & Rosa" is a sensitive, affecting 1960s coming-of-age tale

Elle Fanning

"Ginger & Rosa" is a slow-moving but well-acted and perceptive coming-of-age story. Set in London in 1962, two teenage girls Ginger (Elle Fanning) and Rosa (Alice Englert) are inseparable. As they dream big, issues such as the sexual revolution and nuclear warfare threaten to tear the girls friendship apart. A British-Canadian production, "Ginger & Rosa" is a lovely, sensitive film with two believable breakout performances, Fanning ("Super 8") and Australian actress Englert, seen recently in the the sci-fi fantasy film "Beautiful Creatures." The film treads some familiar themes of friendship, love and making wise choices, and reminds of some aspects of Peter Jackson's 1995 film "Heavenly Creatures," which provided the debut of Melanie Lynskey and Kate Winslet. The low-key film is lovingly shot and directed by "Orlando's" Sally Potter, and she effectively takes you back to another time and another place, when ideas and morals were much different than they were today. Some of the mid-section drags a bit and its seems too familiar, but Fanning and Englert are both enchanting in the sensitive tale of "Ginger & Rosa."

Wes's Grade: B

Spring Breakers - B

Rated R, 92 minutes

Dark shades of fun and crime in "Spring Breakers"

James Franco

The vivid tale "Spring Breakers" isn't what you think. The entertaining film is part college party film and part crime film as it explores the darker aspect and the costs to having fun. Not all of it works perfectly but it's still intriguing nonetheless with a stunning turn by a well-known actor. College pals Brit (Ashley Benson), Candy (Vanessa Hudgens), Cotty (Rachel Korine) and Faith (Selena Gomez) have been best friends since grade school and they'll do anything to go to St. Petersburg, Florida for a fun spring break excursion. They end up getting in trouble and sucked into a dark world of drugs and crime, thanks to a rapper named "Alien" (James Franco). Directed and written by Harmony Korine, best known for writing "Kids," "Spring Breakers" is a well-acted, well-put together film that is remarkably effective at showing the darker, hedonistic side of partying in Florida during spring break. It also provides a chance for a couple of wholesome Disney girls, Hudgins and Gomez, to play against type; Gomez in particular is a standout in a supporting role as the voice of reason. But the most memorable part is Franco's creepy turn as the gangsta rapper thug who invites the girls into his world of crime; it's a mesmerizing turn and something quite different for the actor who doesn't typically play these types of roles. Some of the plotting is too predictable, particularly in its final chapters, but the entertaining, dark "Spring Breakers" is worth a look.

Wes's Grade: B

The Call - C-

Rated R, 95 minutes

"The Call" is a forgettable, silly thriller

Halle Berry

You'll want to disconnect the flavorless, contrived new Halle Berry thriller "The Call." Though it starts out serviceably well, it falls apart midway through under some highly implausible circumstances. When veteran 911 operator, Jordan (Berry), takes a life-altering call from a teenage girl (Abigail Breslin) who has just been abducted, she realizes that she must confront a killer (Michael Eklund) from her past in order to save the girl's life. Directed by Brad Anderson, who made a vivid impression with Christian Bale in "The Machinist," "The Call" is a modestly entertaining but dumb thriller that's mostly memorable for Berry's bushy bad wig (sorry I couldn't take my eyes off of it) and a very grown-up Abigail Breslin a.k.a. "Little Miss Sunshine." The movie's initial, taut chapters work well as we see little of the bad guy and Berry and Breslin's 911 phone conversation make for some interesting fodder. But midway through the movie gets dumber and sillier by the minute as Berry and her wig go on a personal mission to save the young girl, making the police look pretty stupid. Second-rate acting, bad dialogue and weak writing only make this a below average effort from a lovely Oscar-winning actress who, no pun intended, dials in another rote performance that only makes her recent film choices so dubious. On the flip (phone) side, "The Call" gives us a new impression and perhaps a transition to adult roles for the more mature Breslin, who no longer resembles the pudgy girl of just a few years ago, and we hope she has a brighter future in films than this dreck. "The Call" is for Berry's fan base, who'll energetically turn out for this banal, unoriginal popcorn film and make it a hit in spite of itself.

Wes's Grade: C-

The Incredible Burt Wonderstone - C+

Rated PG-13, 100 minutes

Charming, familiar "Incredible Burt Wonderstone" has no new tricks

Steve Carrell and Steve Buscemi

The bland, charming new comedy "The Incredible Burt Wonderstone" is a film about magicians that lacks any sort of real comedy magic. With a pairing of comedy powerhouses Carrell and Carrey you'd think this would be a laugh riot, but it's flimsy script is peppered with only a few genuinely funny bits. Veteran superstar magicians Burt Wonderstone (Steve Carell) and Anton Marvelton (Steve Buscemi) have ruled the Las Vegas strip for years, but their act is growing old and stale as a hot new David Blaine-like street magician named Steve Gray (Jim Carrey) overshadows them. When the two have a falling out, they realize what the magic of true friendship really is. "The Incredible Burt Wonderstone" is a mildly entertaining yet a disappointment considering its stellar comedic leads, lacking a sharp wit and laugh-out loud moments. The spotty script, co-written by "Freaks and Geeks" John Francis Daley and "Horrible Bosses" writer Jonathan Goldstein, is the main culprit, relying heavily on a scattershot, sight-gag approach to comedy that will generate only a few smiles at best. Remarkably (and I never thought I'd find myself saying this), Carrey's role, a cross between Blaine and Criss-Angel, is a smaller part than you might think, yet of the two he's funnier and more engaging. In the large sections Carry's not onscreen, the film suffers on the shoulders of the likable but bland Carrell, who seems to be playing yet another version of the smarmy Michael from "The Office." Buscemi, a terrific comedian and actor, is also underused, though recent Oscar-nominee Alan Arkin is the real treat here as a cranky old magician, giving the film some crackle and pop and stealing all of his scenes. The weak plotting is too predictable (star loses it all to discover the real meaning of life, blah blah blah) and could've been infused with sharper dialogue and characters or even a whiff of low-brow humor to give it some life. While "The Incredible Burt Wonderstone" does provide some sporadic amusement, it pulls no new rabbits out of its hat, leaving you wondering where the real magic is in all this.

Wes's Grade: C+

Stoker - B

Rated R, 98 minutes

Flawed but entertaining "Stoker" chooses style over substance

Nicole Kidman and Mia Wasikowska

The stylish new thriller "Stoker" is one of the year's most interesting films, an intriguing, gothic blend of family drama and psychological thriller. Directed by acclaimed South Korean director Park Chan-wook ("Oldboy"), the film clearly evokes Hitchcock and drips with style in every scene, probably much more than it should. After India's (Mia Wasikowska) father Richard (Dermot Mulroney) dies in an auto accident, her mysterious Uncle Charlie (Matthew Goode), who she never knew existed, comes to live with her and her emotionally unstable mother (Nicole Kidman). Soon after his arrival, India comes to suspect that her charming uncle has ulterior motives but instead becomes infatuated with him. "Stoker" is a flawed but entertainingly dark film; it certainly has style but it also overtakes its narrative and its characters, particularly in its final chapters. Wasikowska ("Alice in Wonderland"), as the sullen, friendless young girl who is drawn into an unexpected family drama that's bigger than even she realizes, is particularly strong, with solid turns by British actor Matthew Goode, Nicole Kidman and in a tiny role, recent Oscar-nominee Jacki Weaver. While Chan-wook, in his American film debut, is a unique director - he certainly knows the impact of colors, landscape and photography - he lets the style over take the script, written by actor Wentworth Miller, who you may remember from the TV series "Prison Break," and leaving more questions than answers about the story. As with many films where the film's star is clearly the star (particularly in its opening and closing), there's a mesmerizing pull to watch but little depth to what's there. Even with that, "Stoker" (named after the author of the original Dracula, Bram Stoker) is dark and often fun and should be a treat for Chan-wook's large fan base. Definitely worth a look.

Wes's Grade: B

The Gatekeepers - B

Rated PG-13, 97 minutes

Compelling doc "The Gatekeepers" sheds new light on Middle East

The Gatekeepers

"The Gatekeepers" is the Oscar-nominated feature documentary featuring separate interviews with former heads of the Isreali intelligence agency Shin-Bet and their role in helping that country over the last 30 years. Fascinating and loaded with lots of historical footage, it becomes a little dry and redundant in its final segments but is an interesting look at the Middle East situation from an intelligence view. Directed by Israeli fillmmaker Dror Moreh, the film features the first-ever interviews with former heads of Shin-Bet, the Isreali version of the CIA. Ami Ayalon, Avi Dichter, Yuval Diskin, Carmi Gillon, Yakkov Peri and Avraham Shalom give accounts of various people and situations throughout their tenure, their successes and failures and how it may or may not have helped shaped the country and the conflicts in the Middle East as a whole. Told in loose chronological order over seven segments, "The Gatekeepers" is by and large a fascinating portrait of the men who helped run the uncover operations of the secretive agency that provides a few powerful moments. That would include some of the confessions of the men, including Peri's statement that “These moments end up etched deep inside you, and when you retire, you become a bit of a leftist.” Also one of the more memorable moments includes Shalom's discussion of the 300 bus hijacking and the subsequent execution of the hijackers that eventually led to his resignation. Hesitant at first but with a little prodding finally recalls the moments that he gave the orders to kill the hijackers. "The Gatekeepers" also is effective at examining some of the controversies f the group, including collateral damage and torture that are also common with American intelligence. The final couple of segments are less effective and becomes a little repetitive and dry, but overall "The Gatekeepers" is a worthy, thoughtful documentary that looks at some relevant political, moral and military issues affecting the Middle East.

Wes's Grade: B 

Dead Man Down - B-

Rated R, 110 minutes

Uneven, flawed "Dead Man Down" has some nice, dark moments

Colin Farrell

"Dead Man Down" is a serviceable, stylish if not bumpy neo-noir thriller from acclaimed director Niels Arden Oplev of the original "The Girl with the Dragon Tattoo" and starring Colin Farrell original dragon tattoo girl herself, Noomi Rapace. Well-cast and filled with some nice dark moments, "Dead Man Down" is hampered by uneven pacing and a highly implausible, muddled story, but what works tends to work well. Farrell is Victor, a third-rate criminal who has infiltrated the inner circle of kingpin Alphonse (Terrence Howard) with the intent of revenge of the murder of his family. His next door neighbor Beatrice (Rapace), a disfigured woman with a past, has discovered some of his secrets and they help each other carry out their own personal campaign of retribution, one that promises to change their lives permanently. "Dead Man Down" is an entertaining, above-average thriller that works because of a sturdy cast and some well-executed, dark moments from director Oplev. Even for a thriller like this, the script from "Fringe's" J.H. Wyman is too contrived and implausible; the film's quieter moments of strength work best until the last act opens up quite explosively. Farrell and Rapace make for a good pairing as two castoffs exacting revenge on their past, and they're well-supported by Howard, Dominic Cooper, still lovely French character actress Isabelle Huppert (seen most recently in "Amour," she steals every scene she's in here as Rapace's hearing-impaired mother) and even F. Murray Abraham in a bit part (yes, that Oscar-winning actor from "Amadeus"). Some of the subplots are muddled and could've easily been excised for better continuity and efficiency, but "Dead Man Down" has some nice, dark moments of death (death by rats is never easy to watch) and brutality, particularly in its energetic climax, which seems a little out of place for an otherwise subdued film. The flawed "Dead Man Down" is worth a look for "Tattoo" fans and those who enjoy a decent thriller.

Wes's Grade: B-

Oz: The Great and Powerful - C+

Rated PG, 130 minutes

Splashy "Oz" isn't great and powerful, but it does entertain

James Franco and Michelle Williams

The colorful, entertaining new film "Oz: The Great and Powerful" serves as a prequel to the beloved classic "The Wizard of Oz." Standing on its own, it works OK, but compared to that classic (and the comparisons will be inevitable) it clearly lacks imagination. When Oscar Diggs (James Franco), a small-time circus magician with dubious ethics, is hurled away from dusty Kansas to the vibrant Land of Oz, he thinks he’s hit the jackpot that is until he meets three witches, Theodora (Mila Kunis), Evanora (Rachel Weisz) and Glinda (Michelle Williams), who can see through his charade. Reluctantly drawn into the epic problems facing the Land of Oz, Oscar must find out who is good and who is evil before it is too late. Directed by Sam Raimi with a script by Mitchell Kapner and playwright David Lindsay-Abaire, "Oz: The Great and Powerful" is a prequel to the classic 1939 film "The Wizard of Oz" and is loosely based on characters from L. Frank Baum's novel "The Wonderful Wizard of Oz" Lively, colorful and well-cast, this "Oz," focusing on how the man became the wizard, isn't that great or powerful, in particular because the storytelling is weak, lacking focus and genuine magic, though the visuals and special-effects, which plays to Raimi's specialty, is clearly the most memorable thing about the film. There are clear nods to the original film (it opens in black and white, in Kansas) yet also aspects changed or missing altogether (in part because Warner Bros., and not Disney, owns the rights to the 1939 film), so no Dorothy, ruby red slippers or Toto, among other things. One notable change is the flying monkeys, so creepy in the original, who have morphed into flying baboons here and equally frightening, which could be much for the young ones. Of the large cast, a game Franco grounds the film with great help from the three witches, with an energetic Kunis in particular the standout. As magical a place Oz is, Raimi plays to its human aspects, of which the likable Franco does nicely, but the story itself, so vivid in the original, seems detached and overwhelmed by the colorful CG visuals, and not helped by an annoying talking monkey ("Scrubs'" Zach Braff) and the cute but unnecessary little porcelain China Girl (Joey King). "Oz: The Great and Powerful" is visually impressive and crowd-pleasing not to mention features a fast-paced, clever climax, but underneath the story needs a dose of heart and emotional connection. This "Oz" isn't terrible, but it could've been much more satisfying.

Wes's Grade: C+

Emperor - B

Rated PG-13, 98 minutes

"Emperor" a slow but affecting mix of history and romance

Tommy Lee Jones

"Emperor" is the compelling new fact-based drama with a unique mix of history and romantic travails. It's well-acted, glossy and slow especially in it's middle act, but the arthouse film is also satisfying. It tells the story of real U.S. General Bonner Fellers ("Lost's" Matthew Fox), who under the supervision of Commanding U.S. General Douglas MacArthur ("Lincoln's" Tommy Lee Jones), is investigating the Japanese Emperor of war crimes following the end of World War II. An expert in Japanese culture and psychological warfare, Fellers' mission is also deeply personal as he searches for a long lost love named Aya (Japanese actress Eriko Hatsune), with the future of Japan and the U.S. at stake based on Fellers' findings. Based on the book "His Majesty's Salvation" by Shiro Okamoto and directed by Peter Webber ("Girl with a Pearl Earring"), the absorbing "Emperor" is slow but richly satisfying, with handsome production values and well-acted by Fox and another scene-chomping performance by Jones, playing another revered historical figure in MacArthur. "Emperor" is also an intriguing, global production; it's a joint U.S.-New Zealand production (and also filmed there), it's based on a Japanese book, stars American and Japanese actors and is directed by the British Webber. The middle act in particular slow-moving, but it's worth staying to the end, even if you know the history behind the story, and expect to have some tissues handy for the film's deeply romantic angles. An absorbing, well-acted mix of history and romance, "Emperor" is definitely worth your time.

Wes's Grade: B

The Last Exorcism Part II - D

Rated PG-13, 90 minutes

"The Last Exorcism Part II" a boring horror retread


Ashley Bell

"The Last Exorcism Part II" is a horror film though the real horror is how bad and ultimately, boring the film comes off. Continuing where the first film left off, Nell Sweetzer (Ashley Bell) is found alone and terrified in the woods. Back in the relative safety of civilization, Nell realizes that she can't remember entire portions of the previous months, only that she is the last surviving member of her family. Just as Nell starts her new life, the evil force that once possessed her is back to haunt her once more. "The Last Exorcism Part II" is a continuation of the 2011 horror film "The Last Exorcism," except by now the novelty of that film has worn off; the film is not presented in the "lost-footage" documentary-style format the first, either indicating that the popularity of that genre of film is weaning, or the fact the producers are simply seeing green to line their pockets with more cash. I go with the latter. There are a handful of few jumpy moments, but this is mostly a bore even for those who enjoy horror films. Not worth your time or movie dollar, this is one of the worst films of 2013.

Wes's Grade: D

Jack the Giant Slayer - C+

Rated PG-13, 115 minutes

Special effects, little else impressive in "Jack the Giant Slayer"

Nicholas Hoult

Fee fi fo fum, give me a great movie that will make the box office hum. The energetic but vapid "Jack the Giant Slayer" is the latest reimagining of the fairy tales "Jack the Giant Killer" and "Jack and the Beanstalk" from "X-Men" director Bryan Singer. It's visuals pop with energy over the flimsy storytelling and pacing. The film tells the story of a young farmhamd (Nicholas Hoult) who must save a young princess (Eleanor Tomlinson) from a race of giants after inadvertantly opening up a gateway to their land via some magic beans and a giant green stalk. "Jack the Giant Slayer" is an entertaining, if not empty, film with some nice special effects though its intensity only serves as a cover for the thin source material. It's also well-cast and well-directed, with Singer managing the visuals well and an impressive A-list cast of Ian McShane, Stanley Tucci (pretty evil here) and Ewan McGregor. The third act is a little slow and much of it seems like filler to get to a rather predictable ending, especially if you know the outcome of the fairy tale. This should do moderately well at the box office and "Jack the Giant Slayer" is worth a look though at times a little too intense for the very young ones.

Wes's Grade: C+

Phantom - C

Rated R, 97 minutes

"Phantom" is tense but unsatisfying sub thriller

David Duchovny

It's been awhile since we've had a submarine drama, but less a great submarine drama, and uneven, mildly entertaining new submarine drama "Phantom" only will make you yearn for "Das Boot" or even "Crimson Tide." Ed Harris is the captain of a Cold War Soviet missile submarine who is rushed into a classified mission, where he is haunted by his past and challenged by a rogue KGB group (led by David Duchovny) bent on seizing control of the ship's nuclear missile and starting World War III. Based on a true classified events and directed by Todd Robinson ("Lonely Hearts"), "Phantom," which derives its name from the stealth aspect of submarine warfare, its peppered with some tense moments, but it turns too elegaic in its final act, not to mention the characters are too distant and (no pun intended) shallow. Those who look to realism may also be disappointned in the fact that in this Russian tale, there is no Russian language, dialect or accents from any of the actors, which isn't as bothersome as the fact that the uneven film posseses little warmth or character to set it apart from the great aforementioned sub dramas like "Das Boot" or the 1995 Denzel Washington thriller "Crimson Tide." Harris and Duchovny, for what its worth, are serviceable as is character actor William Fichtner and while there is some decent amount of tension in the final act, it otherwise fails to provide any emotional or dramatic depth of those earlier sub dramas, and "Phantom" seems mostly dead in the water. This is a red-box rental for sure.

Wes's Grade: C

21 & Over - C+

Rated R, 93 minutes

Charming "21 & Over" is a mish-mash but still fun

Miles Teller, Justin Chon and Skylar Astin

Most everyone likely remembers (or at least longs for) their 21st birthday. With the likable but unoriginal "21 & Over," you're likely to relive some of the best moments, though it's really just an episodic collection of other movies. When straight-A student Jeff Chang's (Justin Chon) two best friends (Skylar Astin and Miles Teller) take him out for his 21st birthday on the night before an important medical school interview, what was supposed to be a quick beer becomes a night of humiliation, overindulgence, and utter debauchery. Directed by Jon Lucas and Scott Moore, the screenwriting team behind the original "The Hangover" film, "21 & Over" is a mish-mash, clunky string of other films - it's really a younger version of their "Hangover" film - but it has low-brow appeal to the younger set who enjoy these party-till-you-die films. The leads: Teller ("Footloose"), Chon "(Twilight") and especially Astin ("Pitch Perfect") are much like the film, instantly likable though forgettable. This tale of debauchery, which includes nudity, lots of drinking, partying and other nonsense, is a second-rate retread of those other party films, including "The Hangover" and last year's dreadful "Project X," and while this film is better than the latter, that may not be saying much. The laughs are familiar and scattered, and if you're idea of fun is watching young people get wasted and do stupid things, then "21 & Over" should be right up your alley, but for the rest of us, do yourself a favor and skip it.

Wes's Grade: C+