Instructions Not Included - B-

Rated PG-13, 120 minutes
In Spanish with English subtitles

Sweet "Instructions Not Included" strikes both a goofy and dramatic tone

Eugenio Derbez

Popular Mexican actor Eugenio Derbez may not be a familiar face to American audiences, but it's a good time to become familiar with him in the charmingly sentimental and overlong "Instructions Not Included," or it's alternate title, "One Man and a Kid." Valentin (Eugenio Derbez) is Acapulco's resident playboy, until a former fling named Julie (Jessica Lindsey) leaves a baby girl named Maggie with him and takes off. Valentin leaves Mexico with Maggie to find Julie in Los Angeles, ending up a famous stuntman in movies to raise his now precocious 7-year old daughter (Loreto Peralta). Julie shows back up to be in Maggie's life, but threatens to break Valentin and Maggie's strong father-daughter bond. Directed, co-written and starring the handsome Derbez, the touching and amusing "Instructions Not Included" is essentially a smarter, telenovela version of Sandler's "Big Daddy." More than just a fish out of water story, it starts off as a broad, silly comedy then in later chapters switches gears to serious as it explores child custody and relationship issues. Derbez is a very likable actor who unlike Sandler, doesn't rely entirely on physical humor to make a point, which is refreshing. As an inexperienced film director, he tends to let scenes ramble on, resulting in an overlong, occasionally choppy film (one minor character's incessant muttering is funny though). It's also very heartwarming, but some may be thrown by its bittersweet twist in the final minutes of the film, though really it had been there all along. "Instructions Not Included" is too long and little uneven, but it's a sweet movie you should put on your list to see, acceptable for children 10 and over. And as a side note, a fictional movie character featured here, "Aztec Man," will have a spinoff film next year also directed by Derbez.

Wes's Grade: B-

Getaway - D

Rated PG-13, 94 minutes

Threadbare, junky "Getaway" provides a few thrills but little else

Selena Gomez and Ethan Hawke

The conventional new action chase drama "Getaway" only makes me long for legendary Steve McQueen in such films as "Bullitt" and "The Getaway" (thankfully this is not a remake of that film). He emanated a coolness that this lackluster, unoriginal film needs, though the car featured in the film, the Cobra Super Snake, is pretty cool. Brent Magna (Ethan Hawke) is a burned out race car driver who is thrust into a do-or-die mission behind the wheel when his wife is kidnapped. With Brent's only ally being a young hacker (Selena Gomez), his one hope of saving his wife is to follow the orders of the mysterious voice (Jon Voight) who's watching his every move through cameras mounted on the car Brent's driving. "Getaway" is a piece of junk that revolves around one extended, tiresome and unending car chase through the streets of Sofia, Bulgaria. Admittedly, while some of the chases are serviceable and energetic, there's little else that "Getaway" has to offer in terms of characters, plotting or acting, even with award-winning actors such as Ethan Hawke and Jon Voight, who is essentially only heard and not seen. Gomez is a bit a trifle, relying on charm and personality to get her though scenes with Hawke; she's not much of an actress but she's not altogether terrible either. Directed by Courtney Solomon ("Bullet to the Head"), his biggest mistake is probably hiding such a great actor such as Voight, who often makes for a terrific but exceedingly hammy, villain. It's not a good sign when the best actor in the movie is the car. That would be the many slick Cobra Super Snake Shelby Mustangs, which are seemingly indestructible and more memorable to watch than any of the actors and their third-rate dialogue. Unlike the cars, "Getaway" is a piece of junk you likely won't remember tomorrow.

Wes's Grade: D

Austenland - B-

Rated PG-13, 97 minutes

Ebullient, silly "Austenland" has fun with Jane Austen fanatics

Keri Russell

The charming new comedy "Austenland" probably won't please real Jane Austen enthusiasts, who might be offended at making fun of the author. Thin and predictable yet lighthearted and goofy, "Austenland" is late summer fun for those who need to relax a little.  For as long as she can remember, Jane Hayes (Keri Russell) has obsessed over the writings of the Jane Austen, the beloved author behind such literary classics as "Emma" and "Pride & Prejudice." She travels to a stuffy British resort called "Austenland" where she can live out her dreams, only to struggle to determine what's real and what's not. "Austenland" is directed and co-written by Jerusha Hess, the guy behind "Napoleon Dynamite" and is based on the 2007 novel by Shannon Hale, who co-writes the script with Hess. Whereas the book had a wistful tone but still dealt with the self-doubt of the character, the movie is played a broad, very silly comedy filled mostly with stereotypes. Admittedly it's quite a change, but nonetheless "Austenland" is still a fun, frothy tribute to the author and a likable sweet tart of a movie, grounded by the lovely Russell and stolen from her in every scene by comic actress Jennifer Coolidge (seen in a range of things from Christopher Guest's movies to TV's "2 Broke Girls") as a rich woman desperate for love. Watch for "Dr. Quinn's" Jane Seymour, as the owner of the resort and "Flight of the Conchords" and Oscar-winner Bret McKenzie in amusing supporting roles. Occasionally meandering and sluggish in its final act, "Austenland" is still a pleasant piece of puffery, and predictably fun even for non-Austen aficionados. Stay over for the credits for music video-like fun and something Austen herself would likely not approve of.

Wes's Grade: B-

The Grandmaster - B

Rated PG-13, 108 minutes
In Chinese with English subtitles 

Handsome "Grandmaster" showcases the elegant side of kung-fu

Tony Leung as Ip Man

If there is such a thing as a sophisticated action movie, then "The Grandmaster" will fall into that category. Part biography, part history lesson, the handsomely filmed, entertaining "The Grandmaster," telling the story of famed martial-arts grandmaster Ip Man, is a little patchy and slow in places, but it will satisfy those longing for a well-made kung-fu movie. "The Grandmaster" is a loose biographical sketch of the rise of Chinese martial-arts grandmaster Ip Man (Tony Leung), who developed and popularized the Wing Chun style of Chinese martial arts and who would later become the instructor for martial arts legend Bruce Lee. Directed and written by Wong Kar-wai ("Happy Together"), "The Grandmaster" is an elegaic, heavily stylized and romanticized version of a portion of Ip Man's life, which alters the details of his life considerably. Unlike the other many Ip Man film and TV versions (seen mostly in China and Hong Kong), "The Grandmaster" mixes reflection, history and lush visuals with considerable doses of kung-fu, which unsurprisingly highlight the film. Kar-wai has a nice visual flair, so the action scenes are played out in the elements against snow, rain, ice, even on a set of stairs, with the blood surprisingly minimal. It's also well-acted by Leung as a low-key Ip Man, along with the lovely Zhang Ziyi, in one of her stronger roles outside of "Crouching Tiger, Hidden Dragon" and "Memoirs of a Geisha," her most popular films. Outside of the memorable fight scenes, some of it is slow-moving, and a key flashback in the third act, though containing "Grandmaster's" most entertaining fight between Ziyi and Chinese actor Zhang Jin, is simply too long, as Kar-wai feels the need to show us every detail instead of briefly showing it and summarizing the rest, which would've sufficed plot-wise. The lush visuals, the well-choreographed kung-fu and the handsome leads all add up to a satisfying time, and the well-made "The Grandmaster" is worth your time, even if you aren't a fan of martial arts. Be sure to stay until the end for a nice prologue on the real Ip Man.

Wes's Grade: B

Closed Circuit - C+

Rated R, 96 minutes

Glossy but detached thriller "Closed Circuit" lacks mystery

Eric Bana

The bland, unoriginal "Closed Circuit" is a British political thriller about the lack of privacy we have in changing technological world. Though well-cast and handsomely filmed, it's a slow-moving, unoriginal take on a subject that's been better handled before. Following a mysterious explosion in a busy London market, the police swoop in, a suspect is detained, and the country prepares for one of the most high-profile trials in British history. Two exceptional lawyers (Eric Bana, Rebecca Hall) with a romantic past step into a dangerous web of secrets and lies, and when evidence points to a possible British Secret Service cover up, it’s not just their reputations but their lives that are at stake. Part thriller and part romance, "Closed Circuit" is directed by Jim Crowley ("Intermission") and written by Steven Knight of "Eastern Promises" fame, and while the slick film has a few nice twists and turns, it isn't exactly a revelatory look at such a timely subject. Crowley also doesn't do much with the romantic angles such a handsome couple as Bana and Hall, and as a result it comes across as too cold and detached. "Closed Circuit," with a generic title and premise, is better skipped. After all, they know you will anyway.

Wes's Grade: C+

One Direction: This is Us - B-

Rated PG, 85 minutes

Energetic "One Direction: This Is Us" is strictly for their fans

One Direction

I will give credit where credit is due. The extremely popular, charming boy band known as One Direction is a global phenomenon. With that in mind, their effusive new behind-the-scenes feature concert film "One Direction: This is Us" is strictly for and should lease their legions of fans across the world. It tells the story of Niall, Zayn, Liam, Harry and Louis' meteoric rise to fame, from their humble hometown beginnings and competing on the X-Factor, to traveling the world on tour and performing at London's famed O2 Arena. The film, which is part a day-in-the-life, part bio sketch and part live concert, takes its cues from those who have gone before them: Justin Beiber, Miley Cyrus and the Jonas Brothers, among others, in an effort to extend their reach, fame and wealth. It helps that the film is directed by a skilled, Oscar-nominated documentary filmmaker in Morgan Spurlock of "Super Size Me" fame. It provides generous, entertaining helpings of their live concert while following the wide-eyed boys as they travel the globe on their first world tour. Admittedly, these young guys are charming and playful, seemingly normal and also very talented, and yes, their music is pretty catchy. But outside this playful charm and fun music, "This is Us" isn't exactly revelatory into the boys backstory, with as much depth as the latest Tiger Beat magazine interview, but given the target audience is tween girls, you might expect that. "One Direction: This is Us" is strictly for their fan base, who will be satisfied and then some by the film. As for the rest of us, see something else, or it will be an endurance test.

Wes's Grade: B-

Blackfish - A-

Rated PG-13, 80 minutes

Disturbing, thought-provoking doc "Blackfish" uncovers who the real killer is

Tilikum

The controversial documentary "Blackfish" will make you mad, for the right reasons. It is a compelling, often disturbing film about the way in which we treat and handle wild animals, just for show. "Blackfish" focuses on the captivity of the killer whale Tilikum, who was involved in the deaths of three individuals, and the consequences of keeping such large and intelligent animals in captivity for so long at such popular theme parks such as Sea World. Directed and co-written by Gabriela Cowperthwaite, it's a fascinating, superbly persuasive look at the argument against keeping wild animals in captivity. Slow-moving, it takes it time in telling its argument, though it certainly moves enough you to think twice about going to Sea World again. Cowperthwaite shows that keeping the whales in dark tanks for so long with other wild animals, among other things, leads to more aggression in the animals, and to more unfortunate deaths to the humans. What a cruel, ironic circle of life. Man captures animal and keeps animal in captivity for long periods of time. Animal responds by killing its capturer. So who is the real killer? The whale or humans? The absorbing, intelligent and involving documentary, "Blackfish," one of the best of the year, of course leads you to believe we're at fault, and probably we are.  A must-see, though potentially very divisive.

Wes's Grade: A-

The Mortal Instruments: City of Bones - C

Rated PG-13, 130 minutes

Jamie Campbell Bower as Jace

Mediocre "Mortal Instruments" an unoriginal fantasy

As if the cinema world was clamoring for yet another dark fantasy between good and evil and involving vampires and werewolves comes the new fantasy "Mortal Instruments: City of Bones," an energetic but derivative, mediocre action fantasy geared toward the "Twilight" fan base. Lily Collins ("Mirror, Mirror") stars as a young girl named Clary Fray whose life is upended when she realizes that she's part of a long line of demon-slayers known as shadowhunters, who are part human and part angel. With the help of fellow shadowhunter Jace (Jamie Campbell Brower) she battles good and evil to find her mother, also a shadowhunter, and a Mortal Cup with considerable powers. Mildly entertaining but mostly dull and wholly unoriginal, "Mortal Instruments: City of Bones" is directed by Harald Zwart ("The Karate Kid") and based on Cassandra Clare's best-selling "Mortal Instruments" young adult novels. It rips off numerous other movies and essentially becomes a goth, urban "Buffy the Vampire Slayer" mixed with "Twilight" and "Underworld," among others. Collins, much like Kristen Stewart, is a decent actress stuck in a mediocre movie franchise (note to Collins: get out while you can, this only the first film). While Collins has some beguiling moments, Bower, ironically seen in three of the "Twilight" films, is miscast as Jace. Bower is a sullen, leaner version of the book character, who is more muscular and rugged, not to mention he and Collins share little chemistry, with their one true romantic scene laughably handled (and one plot twist makes  their relationship a tad creepy). With a lack of meaningful direction and a coherent script, the uneven "Mortal Instruments" is overlong and sluggish, slow in places and overloaded with special effects in others. "Mortal Instruments: City of Bones" has a few fun moments and Jonathan Rhys Meyers is a serviceable villain, but overall this is an unsatisfying adaptation of the novels that may lose some fans in translation. It isn't as terrible as the "Twilight" films, but that may not be saying much. Collins is charming though she needs better material.

Wes's Grade: C

In a World... - B

Rated R, 93 minutes

"In a World..." a smart, charming romantic comedy

Lake Bell

Just when you were afraid of seeing another predictable, dreary romantic comedy, along comes "In a World...," an engaging but intelligent movie set in the world of movie voiceovers. It's about a struggling, freelance vocal coach (Lake Bell) who strikes it big in the cutthroat world of movie-trailer voiceovers, only to find herself in direct competition with the industry's reigning king-her own father (character actor and real-voice over talent Fred Melamed). Directed, produced and written by Bell in her feature film directorial debut ("It's Complicated"), it's charming, offbeat and imperfect, yet works mainly because Bell (whose sarcasm can be slightly shrill as seen in her other movies) is so darn likable and funny here. As well as a love story, it's also an unusual but sly feminist tale set in the male-dominated world of voiceover acting. In addition to Bell, she's assembled a large supporting cast of familiar, genuinely funny people, including Rob Corddry, Michaela Watkins, Ken Marino, Tig Notaro, Demetri Martin, Nick Offerman and even Oscar-winner Geena Davis a bit part. Filled with a few too many characters and an unnecessary subplot involving the character's sister, "In a World..." is a satisfyingly unconventional rom com peppered with a few fun moments and dialogue, especially between Bell and Melamed. Entertaining and recommended for the lovely Bell, in an auspicious debut as director.

Wes's Grade: B

Ain't Them Bodies Saints - B

Unrated, 97 minutes

"Ain't Them Bodies Saints" a poetic, well-acted crime drama

Rooney Mara and Casey Affleck

"Ain't Them Bodies Saints" is the new Texas-filmed that's part crime drama and part love story. From director and newcomer David Lowery, it's handsomely filmed, slow-moving and moody. Set against the backdrop of 1970's Texas Hill Country, a notorious outlaw, Bob Muldoon (Casey Affleck), breaks out of prison to reunite with his wife Ruth (Rooney Mara) and the daughter he's never met, in addition to facing the local police officer (Ben Foster) who was wounded as a result of their crime spree. "Ain't Them Bodies Saints," an original film both written and directed by Lowery is reflective, elegiac in tone and features two strong, believable performances from Mara and Affleck as the leads. The lush, award-winning photography by Bradford Young is especially memorable and evokes Terrence Malick, in particular Malick's "Days of Heaven." (1978). As Malick's films aren't for everyone, neither is this, and some will not enjoy the slow pacing and lingering shots. In addition to Mara and Affleck, Foster is also strong as is the underrated Keith Carradine, very effective as someone who is both a friend and an enemy to the couple. Emotionally satisfying and featuring one of the most energetic scores of recent memory, the lyrical "Ain't Them Bodies Saints" is a small breakout for director and writer Lowery, who is a filmmaker to watch.

Wes's Grade: B

The World's End - B

Rated R, 109 minutes

"The World's End" has never been this much rollicking fun

Nick Frost and Simon Pegg

Welcome to the end of the world as seen on one last pub crawl. The charming, breezy new British comedy "The World's End" combines drinking, action, science fiction and even the apocalypse all into one film starring comedians Simon Pegg and Nick Frost. Pegg ("Star Trek: Into Darkness") is Gary King, an unemployed alcoholic who has yet to grow up, as he reunites his old high school pals (Frost, Martin Freeman, Paddy Considine and Eddie Marsan) for one last pub crawl through their hometown, only to find out things have changed considerably. Directed by Edgar Wright and co-written by Wright and Pegg, this is part of what is known as the "Three Flavours Cornetto Trilogy" following the enjoyable Wright-Pegg-Frost collaborations "Shaun of the Dead" and "Hot Fuzz." If you enjoyed those films, you will have a great deal of fun in the bawdy, energetic and otherwise enjoyable "The World's End," which works well mainly due to hilarious dialogue and an endearing Pegg, who seems to be enjoying himself considerably here. It goes on a tad too long with the last act in particular is a little sluggish in trying to tie things together neatly, and the robot angle is preposterous, but that's precisely why it works so well in this case. The entertaining "The World's End" is a fittingly salacious, over-the-top and wild end to the summer movie going season. Definitely recommended for Pegg/Frost/Wright fans and those who enjoy having a good time at the movies. Too many laugh-out-loud moments which won't be spoiled here.

Wes's Grade: B

You're Next - B-

Rated R, 94 minutes

Intense "You're Next" is a bloodbath, but a fun one

One of the villains in "You're Next"

Save for a handful of genuinely scary horror films like the original "Halloween" or "Friday the 13th," the horror film genre is my least favorite to review, particularly intensely violent and bloody ones. And as much as I wanted to hate the over-the-top, gory new horror film "You're Next," it's actually enjoyable in the right frame of mind. When a gang of masked, ax-wielding murderers descend upon the Davison family reunion, the hapless victims seem trapped...until an unlikely guest of the family proves to be the most talented killer of all. The bloody fun new film "You're Next" is directed by horror film director Adam Wingard ("V/H/S") and stars a load of unknown actors you probably don't know, but the real star is the home invasion premise, which takes a few nifty twists and turns before energetic climax, which is indeed a bloodbath. Of the cast, the most memorable is tough-as-nails Australian TV actress Sharni Vinson in a breakout role that could make her a star in the mold of Jamie Lee Curtis; as the smart survivalist in the group, she's able to outwit and outsmart the creepy, animal-masked killers in some pretty kick-ass ways. Let's just say you'll never look at a blender the same way. The script and plotting is elaborately preposterous and doesn't make much sense if you think about too much, lacking a sense of mystery especially in the last act (you know who the killers are well before the ending), but you may be best to enjoy the chilling "You're Next" by sitting back and enjoying some of the thrills. It's certainly not for everyone, but if you enjoy bloody horror films, then the scary smart, intense and fun "You're Next" is definitely for you.

Wes's Grade: B-

Lee Daniels' The Butler - B

Rated PG-13, 126 minutes

Compelling, well-acted "Butler" a worthwhile history lesson

Forest Whitaker as The Butler

"Lee Daniels' The Butler" is an earnest but well-acted late-summer drama that works much like the 1970s' TV Miniseries "Backstairs at the White House" that's just as entertaining but with more political statements thrown in. Cecil Gaines (Forest Whitaker) works as a White House butler during eight presidential terms from 1957 to 1986. Along with his wife (Oprah Winfrey) he witnesses — and becomes involved in — the political and social turmoil of the period. Inspired by the real-life story of White House butler Eugene Allen, "Lee Daniels' The Butler" is a compelling, if not overly sentimental, history lesson and personal story. Directed by Oscar-nominee Lee Daniels of "Precious" and with a script by Emmy-winner Danny Strong, "The Butler" only scratches the surface of the Civil Rights movement, but what it lacks in depth is made up for with the strong performances by Oscar-winner Whitaker and Winfrey. While Whitaker brims with quiet resolve, Winfrey is honest and funny in a blowsy, lively turn that makes you forget she's the queen of daytime talk shows. Of the large supporting cast, Oscar-winner Cuba Gooding Jr. (even after all those dreadful comedies, he can still act), singer Lenny Kravitz and British actor David Oyelowo all contribute sturdy turns. The most talked-about aspect of "The Butler" is interestingly its biggest flaw, which is the stunt-casting parade of unconventional actors making brief appearances as Presidents and First Ladies: Robin Williams as Dwight Eisenhower, James Marsden as John Kennedy, Liev Schreiber as LBJ, John Cusack as Nixon, and Alan Rickman and Jane Fonda as the Reagans. Schreiber is the funniest and Rickman and Fonda the warmest, but the real fact is that none of the actors (save for a heavily made-up Fonda and a bland Marsden) truly resembles their real-life counterparts, serving only as a distraction from the story. "The Butler" is more powerful when it focuses on the events as they impact the Gaines household, and the division within Cecil's household itself; the most memorable sequence has an intense scene from the Civil Rights movement coupled with a lavish White House dinner that shows the differences in the society at the time. A tad overlong and filled with too many characters, "Lee Daniels' The Butler" is a moving and satisfying tribute to those involved in and affected by the Civil Rights movement. Worthwhile for the performances, especially Oprah, who should do more movies.

Wes's Grade: B

Kiss-Ass 2 - C+

Rated R, 103 minutes

"Kick-Ass 2" is mildly fun but needs to kick more booty

Chloe Grace Moretz

It's no fun when a super-hero is not that super. Ask "The Green Lantern" or "Catwoman." With real people violently honing their superhero skills, "Kick-Ass" became a cult hit in 2010 and inspired "Kick-Ass 2," which is still fun but the profane novelty from the first film has clearly worn off. Taking place after the events of the first film, other people don masks and begin to fight crime. One of these, Colonel Stars and Stripes (Jim Carrey), forms a team and asks Kick-Ass (Aaron Taylor-Johnson) to join them. Meanwhile, Hit-Girl's (Chloe Grace Moretz) choice to "retire" and try to have a normal life as a schoolgirl backfires when Red Mist (Christopher Mintz-Plasse) is reborn as a super-villain and creates a super-villain army to exact revenge on Kick-Ass for his father's death. Based on the comic books "Kick-Ass" and "Hit Girl," Kick-Ass 2" is directed and written by Jeff Wadlow ("Never Back Down"), the fan boy set may get the most out of this lowbrow, egregiously violent take on "The Avengers"; and to sum it up without giving too much away, all of the leads have daddy issues, which somehow lead to them using their skills as superheroes and villains. The movie falters in a draggy first half when Wadlow considerably underuses the talents of Moretz, a breakout star from the first film and who is clearly the strongest one here too, as both Kick-Ass (Johnson) and super-villain (Plasse, whose super-villain name is so profane it can't be mentioned here) are both wimps - and seriously - I never really bought the puny Plasse as an evil super-villain anyway. As for Carrey, his role is unusually subdued, a supporting one and upstaged by some super bee-yatch villain named Mother Russia. The appeal of the first "Kick-Ass" was its over-the-top, profane violence and action, but that doesn't happen enough in "Kick-Ass 2" until its final act. Essentially, "Kick-Ass 2" needs to kick some more ass. Even with all extras this film adds, it's still not as fun as the first.

Wes's Grade: C+

Prince Avalanche - B

Rated R, 94 minutes

Quirky "Prince Avalanche" an uneven but affecting buddy film

Emile Hirsch and Paul Rudd

We don't need another quirky odd couple tale, but the unconventional "Prince Avalanche" is a simple pleasure. Directed by former Dallasite David Gordon Green, it's oddly imperfect, well-acted and satisfying look friendship. An odd couple of sorts, uptight Alvin (Paul Rudd) and his girlfriend’s brother, dopey Lance (Emile Hirsch) leave the city behind to spend the summer in solitude repainting traffic lines down the center of a lonely Texas highway ravaged by wildfire. Over time, an unlikely friendship develops as they must rely upon each other. "Prince Avalanche," which could also be called Alone and Lonely, is directed and written by Green, who's leaned toward low brow, drug comedies as of late ("Your Highness," "Pineapple Express"). An unassuming, talky independent film such as this is seemingly an unusual fit for the director, and in spite of an uneven tone and a predictable script, it works better than you might think. Filmed on location in the Hill Country of Texas where some actual fires occurred, it's essentially a two-person character study, volleying between reflectiveness and wistful amusement. It helps that the talented Rudd and Hirsch give funny/sad turns as two men who are seemingly different on the surface but much more alike underneath. The likable and very modest "Prince Avalanche" wears its quirkiness on its sleeve, but it's still satisfying in the end.

Wes's Grade: B

Paranoia - D

Rated PG-13, 115 minutes

Slick thriller "Paranoia" lacks any shred of originality

Harrison Ford and Liam Hemsworth

The new thriller "Paranoia" should be fired for its lack of any good ideas and being a near complete waste of time. It's unfortunate since its handsome lead, two veteran actors and some handsome photography are all wasted. Adam Cassidy (Liam Hemsworth) is a young worker, whose prank jeopardizes his low-level job at a technology corporation. His superiors give him the chance to save his job if he agrees to an undercover corporate espionage assignment at a rival company. Soon he finds himself trapped between a war of two tycoons (Harrison Ford and Gary Oldman), on the leadership of the high-tech world. Climbing the ladder never seemed so dull and lifeless in "Paranoia," directed by Robert Luketic ("Legally Blonde") and based on a novel of the same name by Joseph Finder. You've seen "Paranoia" before, 20 years ago when it was called "The Firm" with Tom Cruise, whom the bland but attractive Hemsworth is clearly channeling. There are loads of problems with the film but letting it rest on Hemsworth's shoulders is the chief problem; Ford and Oldman are seen sporadically but not near enough. The next big thing wrong with the film is the lackluster, predictable direction from Luketic and a dull, unoriginal script whose major plot points seem mostly borrowed not from Finder's novel but from John Grisham. "Paranoia's" initial chapters work OK and peppered with a handful of mildly entertaining moments, but it all but falls apart in the last act under some ridiculous twists and turns. As for the veteran actors, Ford seems disinterested and Oldman is simply miscast and annoying. The dull, predictable "Paranoia" is not worth your time or movie dollar this weekend. If you really want to see it, do yourself a favor and wait for it to come to Redbox rentals. You won't have to wait long.

Wes's Grade: D

Jobs - C+

Rated PG-13, 122 minutes

Ashton Kutcher as Steve Jobs

Much like the man himself, "Jobs" is both entertaining and flawed

"Jobs" is the new semi-autobiographical piece on legendary technological innovator Steve Jobs, founder of Apple Computers. Starring Ashton Kutcher as Jobs, it's well-acted, engaging and flawed, appealing to techie's and fans of the trailblazing entrepreneur. It focuses on the rise and building of Apple with Steve Wozniak (Josh Gad), Mike Markkula (Dermot Mulroney) and several others until around 2001 and the launch of the iPod. Directed by Joshua Michael Stern ("Swing Vote") and with a screenplay by Matt Whiteley, it's an enjoyable, if not a tad overlong and sketchy, look at the early days of the PC revolution started by Jobs' company, though it lacks depth as it gets bogged down in its middle act and ending on a very sentimental note. "Jobs," unsurprisingly, is most memorable for the vivid turn by Kutcher, who captures a believable portrait of the iconic Apple leader down to his loping walk, mannerisms and clothes. The downside is that "Jobs" isn't that revelatory into Jobs personal life, focusing almost exclusively on Jobs the businessman, innovator and executive, telling us what we really already knew about him: that he was a demanding perfectionist, intensely creative and a shrewd deal maker.  Instead of examining Jobs on a deeply personal level, the second act of "Jobs" is bogged down by some internal Apple politics that adds little insight into Jobs the man, pushing the movie about 15 minutes too long. The engaging opening chapters of the film are the most fascinating as the men establish Apple to get it up and running and how each of their roles change through the years (the low-key Gad is also well-cast as Wozniak). For Apple fanatics, "Jobs" will be a big treat, but otherwise is a flawed but wholly entertaining portrait of an icon, with one of Kutcher's least self-aware and smirky performances to date. Worth a look especially for Jobs enthusiasts.

Wes's Grade: C+

Blue Jasmine - A-

Rated PG-13, 98 minutes

Richly satisfying "Blue Jasmine" Woody's strongest film in years

Cate Blanchett

The new drama "Blue Jasmine" is a beautiful portrait of a fragile life falling apart, and is Woody Allen's most compelling, satisfying film in years. After everything in her life falls to pieces, including her marriage to wealthy businessman Hal (Alec Baldwin), elegant New York socialite Jasmine (Cate Blanchett) moves into her sister's modest apartment in San Francisco to try to pull herself back together again. Directed and written by Allen, it's tone is deeper and more serious than some of his recent lightweight films, and is superbly acted by his cast, especially by Oscar-winner Blanchett, who beautifully embodies the frailty of her character, whose life drastically changes when her husband is convicted of doing some shady business. As the upbeat sister she moves in with, British actress Sally Hawkins is also affecting, as is Baldwin, Louie C.K., Bobby Cannavale and in a small but key role, comedian Andrew Dice Clay, who makes for a remarkably pleasant character actor. The shifty time changes (much of the film is in flashback) is slightly annoying but still handled efficiently by Allen, and seemingly represents two performances by Blanchett: of her good life and of her life now, which is the far more interesting of the two. She's essentially a flawed, depressed and more elegant contemporary version of Annie Hall. The richly satisfying, well-acted "Blue Jasmine" represents the director and star at their best. Well worth a look.

Wes's Grade: A-

Lovelace - C

Rated R, 92 minutes

Intriguing but unsatisfying "Lovelace" lacks passion, energy

Amanda Seyfried as Linda Lovelace

"Lovelace," the new drama about one of the world's first porn stars, Linda Lovelace, is an interesting look at the alluring star and while it has an all-star cast and captures the look of the early 1970s, it lacks a magic that will captivate audiences as much as the real Lovelace did. 
Escaping a strict religious family, Linda Boreman (Amanda Seyfried) discovered freedom and the highlife when she fell for and married charismatic hustler Chuck Traynor (Peter Sarsgaard), who turned her into porn star Linda Lovelace following her big break in "Deep Throat." "Lovelace" is a mediocre, somewhat low-key and depressing look at the star that's in need of a better script and direction. The script and tone are uneven as it frequently shifts time periods, before, during and after "Deep Throat." Directed by Oscar-winning documentary filmmakers Rob Epstein and Jeffrey Friedman ("Common Threads: Stories from the Quilt"), they're seemingly the wrong choice for something like this, and much like other true-life stories, some key details of Lovelace's real story is glossed over; for example they make it seem that "Deep Throat" was Lovelace's introduction to the porn industry though in fact she and Traynor had some experience with that prior to "Deep Throat." The cast performs well, though a better actress than Seyfried would've made "Lovelace" much more beguiling; Seyfried, a lovely actress who needs careful direction, doesn't quite carry off the role, but there are many A-list character actors who are more memorable, including Sarsgaard, Bobby Cannavale, Hank Azaria and even Sharon Stone, in a small, unrecognizable role as Lovelace's strict mother. As for the sex scenes, they're carefully handled and very tame considering this is a film about the porn industry (all you get here is a few topless shots but that's it), though "Lovelace" does capture the vintage, washed-out 1970s look with the bushy hair and flowing, colorful clothes. Outside of that, the vapid "Lovelace" is an unsatisfying, bland look at someone who helped usher in the porn age.

Wes's Grade: C

Elysium - A-

Rated R, 97 minutes

Lean, tight sci-fi thriller "Elysium" is this summer's best film

Matt Damon

Well, it's about time. It's taken most of this summer, but this summer's best, most original film has finally arrived in Neil Blomkamp's ("District 9") action-packed, efficiently made science-fiction thriller "Elysium." In the year 2154, the very wealthy live on Elysium, high-tech space utopian station with cures to all diseases while everyone else lives below on the overpopulated, disease-infested slum Earth has become. 36-year-old factory-worker and ex-con Max DeCosta (Matt Damon) races against time to get to Elysium from Los Angeles to be cured of a deadly cancer and he has some valuable information that could alter the course of history. This pits him against Elysium’s powerful Secretary of Defense Delacourt (Jodie Foster) and her violent secret police forces, led by Agent Kruger (Sharlto Copley). The vastly entertaining "Elysium," directed and written by Blomkamp, is one of the year's best films and certainly the most original science-fiction film since Blomkamp's own "District 9" in 2009. If that film put him on the map, then this one will catapult his career a little further. Handsomely filmed and scored with a grittier feel and a tighter pace than "District 9," it's filled with some clever (though sometimes violent) visuals and a great cast. It's superbly acted by the appealing, always likable Damon, as well as a headstrong Foster, who shares co-billing with Damon but only one brief scene and no dialogue with him. Copley, who was the lead good guy in "District 9," chews up the screen and then some as the bad guy here, and while he borders on caricature, he's also great fun. Blomkamp moves "Elysium" along very well, to the point you might not notice its minor flaws. The characters are all interesting, but not all well-drawn, the ending on the pat side and it lacks what could've been some terrific Damon-Foster interplay. Still, "Elysium" is compelling and energetic enough that you'll forget those flaws and maybe even forget it's a sci-fi film underneath all the tense action and an explosive climax. Enjoyable, tense and wholly original, "Elysium" is a must-see for science-fiction and non-science-fiction lovers alike.

Wes's Grade: A-

The Spectacular Now - B+

Rated R, 95 minutes

Ponsoldt's "Spectacular Now" a dark, superbly-acted teen drama

Shailene Woodley and Miles Teller

"The Spectacular Now" is a stellar, authentic teen drama, and one of the best this genre has seen since 2012's "The Perks of Being a Wildflower." An intelligent, low-key drama from James Ponsoldt (of last year cruelly underrated drama "Smashed"), it's sly, darkly shaded and a must-see for two breakout performances from its leads. "The Spectacular Now" is the tale of Sutter Keely (Miles Teller), a high school senior and effortless charmer, and of how he unexpectedly falls in love with "the good girl" Aimee Finecky (Shailene Woodley). Ponsoldt's adept, satisfying "The Spectacular Now" is the year's best teen drama, though channeling a darker side of teen life. Treading some similar ground as last year's superb "Smashed" (the star of that film, the lovely Mary Elizabeth Winstead, also appears here memorably in a supporting role). In another strong turn, the naturally beautiful Woodley (of "The Descendants," for which she should've been Oscar-nominated for) shows she more than just a pretty face as the shy but smart girl who falls for the boy seemingly wrong for her; she brings a depth to the role that is evident from the first frame her character knows more than she lets on. Along with Woodley, "The Spectacular Now" will be known for the superb, breakout turn from newcomer Miles Teller in a complex, difficult role that's beautifully played. Teller, up to now playing the Spiccoli types in films like "21 & Over," "Footloose" and "Project X," is a revelation as the boy whose charm masks his own path to self-destruction. As fully realized as Teller's performance is, some of the darker themes aren't as fully developed by Ponsoldt's script, particularly the main character's drinking problem, though we certainly know that it's genetic (as his divorced, estranged parents, Jennifer Jason Leigh and Kyle Chandler both are also excellent) and its too-pat ending on the upbeat "coming-of-agey" side. Even with some minor flaws, "The Spectacular Now" is a worthy, affecting and smart teen drama that adults should relate to as well.

Wes's Grade: B+

Planes - B-

Rated PG, 92 minutes

Flying in familiar territory, "Planes" is still silly fun

Disney's "Planes"

"Planes" isn't anything groundbreaking in terms of animation or storytelling, but it is predictable, silly fun for the young set and only has us longing for the next great Pixar film. A spin-off set in the world of Pixar's "Cars," "Planes" may not soar in terms of originality but its charm carries it through its more calculated moments. Dusty Crophopper (Dane Cook) is a small-town cropdusting plane with dreams of competing as a high-flying air racer, but must overcome his lack of racing skills and fear of heights. Dusty's courage is really put to the test when he competes in the big race with help from his friends. From Walt Disney's DisneyToon pictures and directed by Disney employee Klay Hall, the energetic, entertaining "Planes" is best for young kids though it seems second-rate comparatively speaking. It lacks the wit and originality of a true Pixar effort, though Pixar's John Lasseter, the man responsible for "Cars," is executive producer and is given story credit here. Some his clever Pixar-ian touches are evident, especially if you pay close attention to the background landscapes (hint: they're all planes) and there are some colorful moments in this journey along with a peppy score by Mark Mancina, who scored some of the songs from Disney's mega-hit "The Lion King." The voice cast seemingly has a good time, with serviceable work from Cook and veteran Stacey Keach as the leads, though second-tier actors and comedians Cedric the Entertainer, Brad Garrett, Gabriel Iglesias, Sinbad, and Julia Louis-Dreyfus all contribute some amusing moments as well; even Brent Musburger as his "Cars" doppleganger Brent Mustangburger is cute too. "Planes" is lightweight but silly, late-summer clean fun for the young set, and should be a modest hit (and a sequel is already planned), though it could've easily gone its originally-planned straight-to-DVD route and done just as well.

Wes's Grade: B-

We're the Millers - C

Rated R, 110 minutes

Mildly funny but forgettable "Millers" a little too doob-ious

Emma Roberts, Jennifer Aniston and Jason Sudeikis

The modestly entertaining, dumb new comedy "We're the Millers" is as slapdash and about as satisfying as that sloppy joint you have stashed away. It's fun at the time but you won't remember much later. Small-time pot dealer David Burke (Jason Sudeikis) is jumped by thugs and loses his cash and stash. To wipe the slate clean with his greedy supplier (Ed Helms), he packs a fake family (Jennifer Aniston, Emma Roberts and Will Poulter) to Mexico to smuggle some of the weed back across the border. Directed by Rawson Marshall Thurber ("Dodgeball: An Underdog Story") and written by the guys behind such comedies as "Wedding Crashers" and "Hot Tub Machine" (Bob Fisher, Steve Faber and Sean Anders, respectively), "We're the Millers" is a sloppy but charming comedy that's less about the drugs than its smuggle home. Admittedly, there are some genuinely amusing moments, including a spider bite you won't soon forget, but much of it seems tame and episodically strung along. The lack of any substantial plotting and characterization are thrown out the window quicker than you can say "narc" but the cast tries. Sudeikis and Aniston are both blandly charming (Aniston, as a stripper, gets to show off her still rockin'-hot bod), but Roberts and Poulter, as their unlikely fake kids, a homeless girl and the nerd, have more to offer in terms of comedy, especially Poulter, whose character seems the most sincere and actually changes by film's end. And as two uptight travelers with a knack of impeccable timing, comics Kathryn Hahn and Nick Offerman nearly steal the show (their near-amorous moments with Sudeikis and Aniston a highlight). The mildly amusing but forgettable "We're the Millers," filled with a truck load of weed and peppered with a few low-brow fun moments, should be a modest hit for those that enjoy this type of thing. Think of it as a contemporary version of National Lampoon's "Vacation," with lots of pot and a fake family. Stay over for the credits for the bloopers, the funniest part of the movie.

Wes's Grade: C

Percy Jackson: Sea of Monsters - C

Rated PG, 105 minutes

Logan Lerman as Percy Jackson

Fun "Percy Jackson: Sea of Monsters" all CG and no magic

Those looking for a magical adventure about a teenage boy trying to fulfill his destiny should...reread the Harry Potter books. "Percy Jackson: Sea of Monsters," the big screen sequel to "Percy Jackson & The Olympians: The Lightning Thief" is a mildly entertaining but weak mish-mash of stuff that was probably much more fun in Rick Riordan's "Percy Jackson" novel series upon which this is loosely based. In this outing, Percy Jackson (Logan Lerman), the son of Poseidon, continues his epic journey to fulfill his destiny, as he teams with his demigod friends (Brandon T. Jackson, Alexandra Daddario, Levin Rambin and Douglas Smith) to retrieve the Golden Fleece, which has the power to save their home and training ground, Camp Half-Blood. Directed by Thor Freudenthal ("Diary of a Wimpy Kid") with a screenplay by Marvel and DC Comic writer Mark Guggenheim ("The Green Lantern"), "Percy Jackson: Sea of Monsters" a jumbled attempt to bring Riordan's novels to life, though it plays like a junior-league Harry Potter. The producers of the film haven't figured out that the real magic lies in the story, not the overload of CG visuals that they seem to bombard the audience with, though there are a handful of nifty special effects, such as the Sea of Monsters, which resembles a much deadlier Bermuda Triangle. Though Lerman (seen to better effect in last year's "The Perks of Being a Wildflower") is a charming, pleasant Percy, the film lacks a strong emotional core, a deliciously evil villain (as the primary antagonist, Jake Abel is one of the most milquetoast bad guys seen in some time) and some real magic to make this truly effective. There is one nifty, all-too brief cameo from Nathan Fillion as Hermes, who provides our hero with some clever resources to get himself out of a jam. The overload of CG, particularly in an action-packed climax, puts the film at arms length from its audience, giving "Sea of Monsters" a fake sheen that would make the gods unahppy. The young set may still get a kick out of it and help to make a modest hit the first one was (not to mention huge overseas grosses, the only reason for this sequel). Modestly entertaining, somewhat odd and oddly charming, "Percy Jackson: Sea of Monsters" has a handful of sublime visuals but its weak storytelling drags it down to ocean depths. Much like the first one, this could've been much better with a stronger script and direction.

Wes's Grade: C

Crystal Fairy - B-

Unrated, 98 minutes

Charming Cera the high-light of drug comedy "Crystal Fairy"

Gaby Hoffman and Michael Cera

Ever since "Arrested Development" and "Superbad," Michael Cera has made a career of playing nebbish, amusing characters that would make Woody Allen proud, and he continues this character in the lighthearted, unpretentious new drug comedy "Crystal Fairy" that's meandering fun. Cera (seen recently in "The is the End") stars is Jamie, a shaggy, boorish young American traveling through Chile. While searching for a rare hallucinogen-the famed San Pedro cactus-with a trio of Chilean brothers, Jamie invites a mysterious hippie (Gaby Hoffmann) along for the ride, but her free-spirited personality quickly clashes with his self-absorption, taking some surprising turns along their journey. Directed and written by Chilean director Sebastian Silva ("The Maid") and featuring three of the director's real-life brothers playing against Cera, it's a remarkably warm, if not thin and exaggerated, comedy about the joys of discovering yourself through hallucinogenic drugs. Admittedly, the plot is simple, rambling and often redundant, but then that may be the joy of the movie along with seeing the charming, shaggy-haired Cera in his unusual journey; Cera and the Silva brothers also have a genuine, natural interplay. Much of "Crystal Fairy," which was supposedly written as an outline and mostly improvised by the actors, has a nomadic charm. Though not for everyone, those who see it will feel good afterwards.

Wes's Grade:  B-

Only God Forgives - C

Ryan Gosling

Rated R, 90 minutes

"Only God Forgives" a plodding, unsatisfying crime thriller

"Only God Forgives" is the new crime drama and follow up from "Drive" director Nicolas Winding Refn and his "Drive" star Ryan Gosling. As with "Drive," Refn gets points for style and acting but a sluggish, uneven narrative drags the film down. Julian (Gosling), a respected figure in the criminal underworld of Bangkok, runs a Thai boxing club and smuggling ring with his brother. His brother is suddenly murdered and their crime lord matriarch, Crystal (Kristin Scott Thomas) arrives from London to bring back the body. When Crystal forces Julian to settle the score with his brother's killers, Julian finds himself in the ultimate showdown. Heavily stylized and well-acted, "Only God Forgives" ultimately disappoints from an unsatisfying script from Refn; the story is intriguing but exceedingly plodding, something that also plagued "Drive." Refn is an interesting director with an obvious fascination for brutal violence, which is peppered throughout the film. As the sword-wielding bad guy Chang, who believes himself to be "God" thus the title for the film, unknown Asian actor Vithaya Pansringarm is chilling, and Oscar-nominated actress Scott Thomas is also memorable as Gosling's overly honest, blowsy mother with control issues. "Only God Forgives" is a polarizing film, some may enjoy its dark, somewhat hypnotic red-infused style, while others think the dull storyline hampers the film (I fall into the latter), with a deeply unsettling but unsatisfying ending. Refn is certainly a director to watch with Tarantino-esque potential, but the flawed "Only God Forgives" seems to lay the groundwork for something better.

Wes's Grade: C

2 Guns - B

Rated R, 109 minutes

Entertaining "2 Guns" is a familiar, over-the-top shoot-em-up

Denzel Washington and Mark Wahlberg

 "2 Guns" is a calculated, preposterous and messy action crime thriller that works in spite of itself. Why is it so enjoyable? Mainly because of the fun chemistry between two A-list movie stars in Denzel Washington and Mark Wahlberg and a great supporting cast. An elaborate scam has a DEA agent (Washington) and an NCIS agent (Wahlberg) investigating one another in belief that they are stealing money from the mob. But when they realize that they were set up by the CIA, they must work together to return the money and stay alive. An exciting late summer entry, "2 Guns" is directed by Baltasar Kormakur (director Wahlberg's "Contraband") and written by Blake Masters of the Showtime TV series "Brotherhood." The muddled, familiar script plays similar to other Washington or Wahlberg films; if you've seen Washington in "Man on Fire," "Out of Time" or last year's "Safe House," or Wahlberg in "Contraband" or "The Departed" then this won't be exactly revelatory stuff. Yet it's the interplay, and not the story which is most memorable here, including some amusing (albeit violent) exchanges between the two talented actors with one chase/fight scene mid film involving the two the most fun. "2 Guns" has some action-packed moments, along with one of the better supporting casts of recent memory. Watch for Edward James Olmos as a dangerous drug kingpin and Bill Paxton, having terrific fun as a truly evil CIA operative, not to mention James Marsden as a baddie and the lovely Paula Patton as Washington's love interest. Highly implausible, over-the-top and preposterously plotted is the serviceable but rarely dull "2 Guns." Filled with blood, bullets and lots of explosions, it's nothing new, but that shouldn't stop Washington and Wahlberg's fans from turning out, who won't be disappointed.

Wes's Grade: B