Dirty Wars - B+

Unrated, 87 minutes

"Dirty Wars" a riveting documentary on the U.S. military presence on foreign soil

Journalist Jeremy Scahill

Investigate journalist Jeremy Scahill turns his compelling book "Dirty Wars: The World is a Battlefield" into a stirring, relevant documentary on the presence the U.S. military has taken in other countries. Scahill, a journalist for The Nation magazine, take a bold look at our military policies in nations such as Yemen, Afghanistan and Somalia, and how those policies aren't serving their intended purpose. "Dirty Wars" is part detective work, part political thriller that's gritty, complex and difficult to understand but also a fascinating, searing portrait that gives a different look at the flawed U.S. military policies designed to promote democracy and freedom. Scahill is best out in the field searching for answers, and he literally puts his life on the line in dangerous places such as Somalia (the intensely scared look on Scahill's face tells it all in one particularly gritty section involving a load of gunfire) to show that our military policies aren't as successful as made out to be. Some viewers may be lost on all the jargon the journalist, who also narrates (the film is well directed by filmmaker Richard Rowley) throws out, and as a result the film occasionally becomes a tad heavy handed. Still, overall "Dirty Wars," an independently financed and produced documentary, is an intense, gripping and often fascinating look at an story that deserves more attention.

Wes's Grade: B+

Unfinished Song - B

Rated PG-13, 93 minutes

Bittersweet, sentimental "Unfinished Song" hits the right notes

Terence Stamp

Charming, funny and touching, the British comedy "Unfinished Song" proves you're not too old to try something new. The story is familiar and you won't have a doubt about where it ends up, but it's so pleasantly assembled you'll have a good time getting there. Arthur (Terence Stamp) is a curmudgeon old soul perfectly content with sticking to his dull daily routine until his beloved but terminally ill wife Marion (Vanessa Redgrave) introduces him to a spirited local singing group of senior adults led by the youthful and charming Elizabeth (Gemma Arterton), who has them singing some fast-paced pop songs. "Unfinished Song" is a remarkably upbeat, lyrical but often unconventional film with a few good notes provided by a cast who outshines the predictable script. Known as "Song for Marion" across the pond and already a hit there, nominated for several British Independent Film Awards, "Unfinished Song" is held together by the charming Stamp as one grumpy old man, and the delightful Redgrave in an effervescent performance that is the film's centerpiece. Interestingly, it's directed by British horror film director Paul Andrew Williams, but it's enjoyable (yet different) in seeing older folks prance around, having fun singing some '80s and '90s pop tunes like Salt-n-Pepa's "Let's Talk About Sex" and The B52's "Love Shack" (especially memorable). Arterton ("Hansel and Gretel: Witch Hunters") is also strong as the young choir director who inspires Arthur, as well as Christopher Eccleston as Arthur's estranged son. "Unfinished Song" wears its sentiment on its shoulder, and on that note you'll want to keep plenty of tissues handy, particularly in the film's best scene as Redgrave sings Cyndi Lauper's "True Colors" in front of a big audience. Satisfying and uplifting, "Unfinished Song" isn't perfect, but it has heart and is worth a look, especially for Redgrave and Stamp, who have an unmatched chemistry together.

Wes's Grade: B

White House Down - C

Rated PG-13, 137 minutes

Channing Tatum and Jamie Foxx

Emmerich is back with another mindless action thriller in "White House Down"

2013 is blessed with not one, but two action thrillers with the White House in physical distress, the first being spring's "Olympus Has Fallen" and now "White House Down" from "Independence Day" director "Independence Day," who must have a thing for exploding Presidential mansions. Mindless, preposterous fun, it's best to just to sit back, enjoy and not actually think about the details of "White House Down." A group of domestic terrorists and mercenaries led by Emil Stenz (Jason Clarke of "Zero Dark Thirty") overtake the White House, threaten to kill the President (Jamie Foxx) and destroy mankind with nuclear bombs, but not before US Capitol Police officer John Kale (Channing Tatum) can get to them. Also starring James Woods as a bad Secret Service agent, Maggie Gyllenhaal a good Secret Service agent and Richard Jenkins as the Speaker of the House, "White House Down" is essentially another version of "Olympus" with similar plot points and characters, and much like that film, it's ridiculous, over-the-top and dumbed down considerably, and (unsurprisingly) director Emmerich and "The Amazing Spider-Man" writer James Vanderbilt wouldn't have it any other way. With a large bucket of popcorn and some Milk Duds, "White House Down" can be enjoyable, if not, exhausting, entertainment that the summer tends to bring out, and Tatum and Foxx seem to be the perfect pairing for something like this, with Foxx's mugging for the camera and Tatum's athleticism. Too bad a smart actress like Gyllenhaal is given little to do, but Woods' chomping on scenery at every turn is actually pretty fun to watch (and he's always a terrific bad guy). Lots of explosions, shooting, running, beating up people and destroying endless amounts of White House accessories takes time, and on that note it grows tiresome after awhile. Emmerich has assembled a great cast, some nice action set pieces and an otherwise forgettable piece of nonsense in "White House Down," which means it will likely be a decent hit at the box-office. Fun, but leave your brain at the door.

Wes's Grade: C

The Heat - C

Rated R, 117 minutes

Melissa McCarthy & Sandra Bullock

McCarthy and Bullock serve up lukewarm, predictable laughs in "The Heat"

"The Heat" is a standard fare, predictable and profane female police buddy-buddy comedy that's made better by it's two mega-watt stars in Oscar-winner Sandra Bullock and Emmy-winner Melissa McCarthy though overall it's a lukewarm affair. Uptight FBI special agent Sarah Ashburn (Bullock) is paired with testy Boston cop Shannon Mullins (McCarthy, walking off with the movie) in order to take down a ruthless drug lord. The hitch: neither woman has ever had a partner -- or a friend for that matter. Directed by Paul Feig, who also helmed another popular McCarthy comedy, "Bridesmaids" and written by "Parks and Recreation" scribe Katie Dippold, "The Heat" is serviceable, medicocre fare with a by-the-numbers plot that's been seen in this genre since Eddie Murphy's "48 Hours." Bullock, the uptight cop, paired with McCarthy's brusque cop, with the two initially hating each other and becoming pals by the end of the movie as they bring down the bad guys, is not exactly a spoiler alert for anyone who has seen the ubiquitous trailers for the film recently. The leads performances, much like the film itself, is something you've seen before: McCarthy's off-putting bully routine is something she's becoming quickly typecast for (though one riff about her bosses' privates are funny) and Bullock is worse off, playing essentially the same character from her "Miss Congeniality" movies, which weren't exactly classics. However, it is nice seeing two actors play against type: serious actors Oscar-nominee Demian Bichir play lighthearted and comedian Marlon Wayans play toned down though the script gives them little to do, while it's more fun seeing "Saturday Night Live" vet Jane Curtain, perfectly cast in a tiny role McCarthy's onscreen Mom (another nice touch: McCarthy's captain is played by Tom Wilson, aka Biff from the "Back to the Future" movies). Much like McCarthy and Feig's "Bridesmaids," this runs a little too long for what it is - buddy comedy - and about 15-20 minutes could've easily been chopped off (one particular scene with a choking patron in Denny's is really unnecessary). "The Heat" is absolutely nothing new in terms of comedy (or in terms of feminism for that matter): it takes a simple, often low-brow approach and you know where it'll end up, and while peppered with a few fun moments, mostly provided by McCarthy, it's largely unmemorable. Worth a look, if only to see two talented actresses play a foul-mouthed, mediocre version of "Cagney and Lacey." In a summer, not to mention a year, in need of comedies, the mildly enjoyable "The Heat" will have to do for now.

Wes's Grade: C

The Bling Ring - C

Rated R, 90 minutes

Interesting but vapid true crime drama "The Bling Ring" has little to say

Emma Watson and pals in "The Bling Ring"

The new film from Oscar-winning director Sofia Coppola ("Lost in Translation"), "The Bling Ring" is an interesting real-life tale that seems destined for the big screen. A group of young teens, including Rebecca (Katie Chang), Marc (Isreal Broussard) and Nicki (Emma Watson), steal a load of clothes and accessories from some Hollywood celebrities, including Paris Hilton, Rachel Bilson, Lindsay Lohan and Orlando Bloom and then get caught in their own web of lies and deceit. The movie is based on actual events of a group of teens who were caught a few years ago of doing this very thing, and the real story is more intriguing than the boring, slow-moving and empty tale than Coppola spins. Though Coppola is a gifted director and writer, her source material is thin and lacks an emotional pull one way or the other (in other words, you just don't really care); it also lacks the charm and fun that something like this should have, and this ultimately is one of Coppola's weaker, if not, weakest film to date. "The Bling Ring" has about as much depth as a People or US Magazine article, which isn't surprising given the source material is indeed a Vanity Fair magazine article. While it's sleek, shiny and packaged well, much like the jewelry that's stolen, "The Bling Ring" doesn't say much or make any statements about these people and in turn becomes largely forgettable. Not worth it.

Wes's Grade: C

World War Z - B-

Rated PG-13, 116 minutes

Flawed but intense, zombies are the best part of "World War Z"

Brad Pitt

OK, the hype surrounding the new flawed new zombie thriller "World War Z" is a bit much. It is not the zombie movie to end all zombie movies. It's murky, uneven and its lead actor a little bland, but is has some strong points too. Quite a few of them actually. Think "The Walking Dead" on speed mixed with apocalypse in which the undead are far more memorable than the living. The story revolves around United Nations employee Gerry Lane (Pitt), who traverses the world in a race against time to stop a pandemic that is toppling armies and governments and threatening to decimate humanity itself. Directed by Marc Forster ("Quantum of Solace"), "World War Z" is a stirring, intense zombie apocalyptic thriller in which the "Z" in the title is the most memorable part of the film, especially a breathless opening sequence of terror as the zombie plague quickly spreads across a dense area. When it slows down a bit, things becomes less interesting, due to an uneven script and banal human interaction that hamper the expensive, problem-filled production, seemingly beset with more zombie-like issues than you could shake a stick at since it first began filming in 2011 (script rewrites, shoots, reshoots, you name it). However, one thing that "World War Z," based on Max Brooks' 2006 best-selling novel, did get right is the zombies themselves; in this interpretation they're strong, agile, agitated by noise and quite determined for being so undead, not to mention they could run circles around any of the "The Walking Dead" crew. When they're on screen, the film pops with visual energy and intensity and much less so when the humans, led by a dullish but solid Pitt and his dirty locks, take center stage as they trot the world to determine a cure for this awful plague. In spite of a murky plot and some patchy scenes, particularly in its later chapters, "World War Z" is a vivid, but not overly violent, portrait of a zombie apocalypse in which all the excitement unsurprisingly comes from the zombies (after seeing them here, you could say the rock the place, literally). Certainly worth a look, especially for zombie enthusiasts, who'll clamor to see it faster than any of the undead.

Wes's Grade: B-

Monsters University - B-

Rated G, 102 minutes

Colorful "Monsters University" lacks originality but still gets laughs

Sully and Wazowski on campus in "Monsters University"

Upfront, I will say "Monsters University," the long-anticipated sequel to the Pixar classic "Monsters, Inc." isn't as original or fun as that 2001 film, and it goes on a tad too long. Yet it's loaded with some colorful characters and enough laughs to make the 14th Pixar film worth seeing. Mike Wazowski (Billy Crystal) and James P. Sullivan (John Goodman) are an inseparable pair, but that wasn't always the case. "Monsters University," set about 10 years before the first film, unlocks the door to how Mike and Sulley overcame their differences (studious Mike vs. laid back Sulley) after they first met in college to become the best of pals. Charming but predictable, "Monsters University" is a pleasantly entertaining entry in the Pixar collage of films, but not its best. Well-voiced with energy by Goodman, Crystal and a large variety of characters, which is part of its problematic, thin script. It revolves around a "Hunger Games"-esque (just much less violent and no deaths) sort of games to see who the scariest is, but the problem is that it's not terribly original or funny, and it takes much too long to resolve. Also a weakness: its most intriguing aspect, how the two started to work at Monsters, Inc., is an afterthought and shown over a collage of photographs at the end. The second is that "MU" is infused with so many different (albeit colorful) characters you may forget who is who (most memorable: a deliciously evil Helen Mirren as the strict headmistress and "It's Always Sunny In Philadelphia's" Charlie Day as the gangly purple creature Art). Third, with the first film a generation ago (12 years), it may take some repeat views of that film to genuinely enjoy this one. Even with those imperfections and lacking the heart of such a well-loved first film, "MU" still provides a few hearty laughs (a sequence with Mike riding a pig is one of them) to keep the young set engaged through many of the quieter, lesser moments of the film. "Monsters University" isn't as frightfully fun as "Monsters, Inc." but you'll have a good time, and is preceded by an unconventional but striking animated short "The Blue Umbrella." And listen closely for Pixar stalwart John Ratzenberger, who's appeared in all the Pixar films, in a voice cameo here too.

Wes's Grade: B-

Man of Steel - B-

Rated PG-13, 143 minutes

Henry Cavill as Superman

"Man of Steel" is a good, but not super, update of the comic book hero

Superman is back in the new update "Man of Steel" though not everyone will be pleased to see him. The much-needed new retelling may disappoint some audiences, especially those familiar with previous versions of the red-caped hero. Muscular, dark and gritty, "Man of Steel" ironically lacks depth and heart, replaced with a simplistic "Transformers"-style action-adventure vibe to draw a new generation in. The film opens with Kal-El (later Clark Kent ala Superman) birthed on Krypton, a doomed planet being overtaken by ruthless General Zod (Michael Shannon, terrific as always) and who kills Superman's father, Jor-El (Russell Crowe) in the process, who in turn sends Kal-El to Earth to escape Krypton's destruction. On Earth, Kal-El becomes Clark Kent to midwest parents (Kevin Costner and Diane Lane) and discovers his superhuman powers and strength. Zod later comes to Earth to find Kal-El so he can eventually overtake our planet, setting up an incredible showdown between the two, with Lois Lane (Amy Adams) placed squarely in the middle of it all. Directed by Zack Snyder ("300"), produced by "The Dark Knight's" Christopher Nolan and written by "Dark Knight" scribe David S. Goyer, "Man of Steel" is an action-packed, well-cast and entertaining re-imagination of the popular superhero, though it lacks the complexity of Nolan's "Dark Knight," whose success this is clearly fashioned to replicate. Athletic and exceedingly handsome British-actor Cavill's sublime Superman (who will generate obvious comparisons to cinema's best-known Superman, Christopher Reeve), and the rest of the cast, from Shannon's memorably evil villain to Adams fiery version of Lane, is the best part of this new update, which presents some fresh touches, including Superman's glossy new suit, increased father-son interaction and particularly its new Clark Kent-Superman-Lois Lane-Daily Planet dynamic, which may upset viewers familiar with the old-fashioned romanticized portrayal, largely absent here. The first part of "Man of Steel," even with its new ideas, is most effective as it tells Superman's backstory, but then its last act feels completely different. After intriguing us for two acts, it then becomes a mindless "Superman Meets The Transformers" as it unleashes an overload of loud, busy special effects and a seemingly endless climax over Metropolis (just how many buildings can Superman and Zod destroy? the answer is a whole lot) with an eerie 9/11 feel to it. There is indeed a great need for "Man of Steel" to draw in new movie-going fans to Superman, whose tastes have obviously changed over the years, but it can still be done with flair and complexity (see Nolan's own "The Dark Knight" trilogy as a great example). The uneven "Man of Steel" packs some punch with sublime visuals, a dashing Cavill who seems up to the task, and some entertaining set pieces, but unlike Superman himself, this version doesn't carry a lot of weight on its shoulders. Worth a look but the bottom line is, it could've been better.

Wes's Grade: B-

This is the End - C

Rated R, 105 minutes

Over-the-top but thin "This is the End" blends raunch and the apocalypse

Seth Rogen, Jay Baruchel, James Franco and Craig Robinson

The apocalypse has never been mined for this much fun in the low-brow new comedy "This is the End," which finds raunchy delight in the end of the world, though really it's a mediocre one-joke of a movie that wears out after the first 20 minutes. The movie follows fictional versions of real actors playing themselves: Seth Rogen, Jay Baruchel, James Franco, Craig Robinson, Jonah Hill and Danny McBride as the apoclypse comes to fruition in Los Angeles, complete with the Biblical rapture and demons, though the scariest part is the fact these guys must try to survive it together. A mildly entertaining but uneven mash-up of raunchy humor and the end times, "The is the End" is co-directed and written by pals and business partners Rogen and Evan Goldberg. These guys admittedly have some fun (wildly profane, it's not for everyone), though this one-joke stunt of a movie could've been accomplished much more easily in an SNL sketch or an HBO special. The best parts: the last 5 minutes (featuring a well-known boy-band cameo) and the first 20 minutes, with a who's who of young hipster actor cameos, most memorable from Michael Cera who has one cringeworthy scene in particular that may cause you to look away, and Emma Watson as well as Jason Segel, Martin Starr, Paul Rudd, Mindy Kaling, Rihanna, Aziz Ansari, Christopher Mintz-Plasse, among many others. The rest of it seems thinly stretched-out filler, so much so it's hard to see how Rogen and Goldberg even had anything to direct or write, as much BS that goes on during this time you'll be ready for it to end. The leads, playing wild, alternate versions of themselves, are all likable, but Hill is annoyingly effeminate while McBride may just get on your last nerve (his argument with Franco mid-movie is memorable though). Pleasantly scattered and uneven, the unimpressive "This is the End" is low-brow fun for those who enjoy this type of thing, but the best part about "This is the End" is when it  - the movie, not the world - really ends.

Wes's Grade:  C

Before Midnight - B+

Rated R, 108 minutes

"Before Midnight" a well-acted, insightful study of long-term commitment

Julie Delpy and Ethan Hawke

"Before Midnight" is the second  sequel to "Before Sunrise" (1995) and "Before Sunset" (2004) and continues the story of the Gen X couple who met on the streets of Paris.  Jesse (Ethan Hawke) and Celine (Julie Delpy) now live in Paris as a couple and are parents to twin girls conceived when they got together. This finds them both in mid-life stuggling in one way or another with family and career choices and whether or not to stay together. As with the previous two films, this effusive outing is directed by Richard Linklater and is co-written by Linklater along with the two co-stars. Thoughtful and slow-moving, "Before Midnight" isn't for everyone, like the other two films, it's exceedingly talky and revolves around extended conversations regarding love, sex, marriage, romance, family and commitment, among many other things. An insightful essay into long-term commitment, Linklater's relaxed direction complements the leads charming, lovable chemistry together and this installment, more provocative than the others, will leave you talking. Seemingly, there isn't much more to do with the couple we met 18 years ago, but we said that following the last outing, and future chapters might include "Before Menopause" or "Before the Nursing Home." Jokes aside, "Before Midnight" is a touching, smart and superbly-acted take on what it means to be truly committed. We're there once again.

Wes's Grade:  B+

The Kings of Summer - B

Rated PG-13, 93 minutes

Familiar coming-of-age  "Kings of Summer" is genuine fun

Gabriel Basso, Moises Arias and Nick Robinson

Coming-of-age films are a dime a dozen, yet when one works right it will be etched in your memory, ala "Stand by Me," "The Goonies" or "The Sandlot" just to name a few. The new coming-of-age movie "The Kings of Summer," while treading thin, familiar ground, is one that has a likable charm and spirit that should make it a sleeper, word-of-mouth hit. "The Kings of Summer" tells the story of three teenage friends - Joe (Nick Robinson), Patrick (Gabriel Basso) and the eccentric and unpredictable Biaggio (Moises Arias) who run off and spend some of their summer in the woods constructing a house that will strengthen their bond and also build some great memories. From first-time director Jordan Vogt-Roberts in an auspicious debut, "The Kings of Summer" is funny, upbeat and one of the better coming-of-age film in recent memory. It has a cultish appeal of "The Goonies" yet with the wistful humor of "Stand by Me" and "The Sandlot." It helps that the three young actors are incredibly appealing; Basso and Robinson carry the film with heart though its Arias as the eccentric, oddly shaped Biaggio (best known as Rico from "Hannah Montana") who steals the movie with its most genuinely funny, laugh-out-moments. It's also nice that the adults are a little wacky too, with Nick Offerman, Megan Mullally and Mary Jane Rajskub all getting in some humorous moments, with Offerman in particular making the best of his lines. The script from Chris Galletta is also appealing but flawed and with less talented actors, it wouldn't hold up under such a thin familiarity (in other words there isn't much there). Still, "The Kings of Summer" has fun and so should you. A decent, serviceable effort for such a well-worn genre, this is definitely worth a look.

Wes's Grade: B

The Purge - C

Rated R, 85 minutes

"The Purge" a provocative but dull thriller about class warfare

Ethan Hawke

The new futuristic thriller "The Purge" has one of the most original premises of the year, with a heady plot about class warfare that's played out as a gruesome home invasion film. Set in America in 2022, violent crime and unemployment are at all time lows, supposedly due to one annual 12-hour period called "The Purge," in which any crime becomes legal, as a cathartic way for Americans to get it all out of their system. A wealthy businessman (Ethan Hawke), who sells home security systems, and his family (Lena Heady, Max Burkholder and Adelaide Kane) are put at danger in their own home when they become involved in a tense sequence of events. Directed and written by James DeMonaco, who tread similar ground in "Assault on Precinct 13" also starring Hawke and "The Negotiator," "The Purge" whose provocative, unique premise is undermined by slow, predictable plotting and the silly actions of one character in particular. As a thoughtful essay on class warfare and what is essentially a very violent anti-violence film, "The Purge" is an effective model, though that theme doesn't provide much energy until it becomes a gruesome home invasion film in its final act, where it's less thoughtful and more bloody. Hawke, with jagged teeth and defined facial features, has become an intriguing character actor who can blur the lines between good and bad, and he's well-cast in a film that doesn't do much with him. Alternatively absorbing, boring and mildly entertaining "The Purge" isn't a terrible film and may be worth a look, though it doesn't quite deliver on such an interesting premise.

Wes's Grade: C

The Internship - C

Rated PG-13, 119 minutes

Same 'ol, lame 'ol Wilson-Vaughn schtick the likable "The Internship"

Owen Wilson and Vince Vaughn

Considering the talent involved, the new movie "The Internship" is a disappointment, with loads of BS and short on genuinely smart, amusing moments. The new comedy reunites the charming team of Owen Wilson and Vince Vaughn from the hit "The Wedding Crashers" who star as two 40-somethings who go to work at Google as interns in hopes to restart their careers and end up changing much more. Directed by Shawn Levy, director of such comedies as "Night at the Museum" and "Date Night," the thin premise, predictable plotting and all-too easy set up is mined for a handful of silly reflex laughs and little else. "The Internship" should've been a sharp portrait of the technological generation gap, and the funniest scene has Vaughn totally misunderstand the social networking site Instagram and how to post pictures instantly "on the line." Instead, it's peppered with some typical laid-back Wilson-Vaughn talky schtick (not to mention one totally unnecessary Will Ferrell cameo) and while periodically fun, for what it ends up being - dumb but pleasant buddy comedy - goes on far too long at 119 minutes. It also seems like an extended commercial for working at Google, and while they thankfully agreed to have the film use their product, they may not be completely satisfied with the results (I mean, would you really hire these guys?). Limp but likable, "The Internship" is a mediocre attempt to get these talented actors back together, and on that note is far more smart-ass comedy than smart.

Wes's Grade: C