Metallica: Through the Never - B-

Rated R, 93 minutes

Best part of "Metallica: Through The Never" is the music

Metallica on stage

Part concert film, part narrative, "Metallica: Through The Never" is a 3D experience that's best appreciated by fans of the super metal group. Peppered with some impressive visuals from the groups 2012 tour, unsurprisingly the best part of the film is the head-banging music. Trip (Dane De Haan of "Place Beyond the Pines") a young roadie sent on an urgent mission during Metallica's roaring live set in front of a sold-out arena. Directed by Nimrod Antal ("Predators"), "Metallica: Through The Never" is a pulse-pounding, head-banging, throbbing concert film, weaved with an unnecessary, wobbly narrative that adds little to the film. Yet, the concert footage and music more than makes up for the flat storytelling the film tries to attempt. If you're a fan of Metallica or metal music in general, the film is a must-see, but it would worked much better as a straight-forward concert film with some backstage footage, which would've given us more insight into the band members and the influence they've had on music in recent years. If you're not a fan, then you may want to stay away, or at least take some ear plugs with you, as you will need them. "Metallica: Through the Never" is loud, rambunctious and entertaining.

Wes's Grade: B-

Cloudy with a Chance of Meatballs 2 - C+

Rated PG, 95 minutes

The cast of "Cloudy with a Chance of Meatballs 2"

Colorful "Meatballs 2" lacks the flavor of the first film

The 2009 animated hit "Cloudy with a Chance of Meatballs" was delightful, original and zany, even if it didn't resemble its source material. Its inevitable sequel, "Cloudy with a Chance of Meatballs 2," is still bright and goofy, but its weakly strung together and lacks the fun of the first film, but young kids will still have some fun with it. Inventor Flint Lockwood's (Bill Hader) genius is finally being recognized as he's invited by his idol Chester V (Will Forte) to join The Live Corp Company, who has challenged Lockwood to help rebuild Swallow Falls destroyed by food in the first film. Lockwood and his pals go back to finally put an end to the machine that caused so much havoc, though Chester V has other plans for it. Directed by Cody Cameron and co-written by John Francis Daley (the "Freaks and Geeks" actor), Jonathan Goldstein and Erica Rivinoja, it's an energetic romp for sure and well-cast (Hader is always good for a laugh or two, as is Neil Patrick Harris as the monkey), but the lazy storytelling and the weak plotting lacks the originality of the first film. It's best when it returns to Swallow Falls, which is a bit of a darker place than in the first film, and filled with some "foodimals," or food-animal hybrids such as mosquitoasts, tacodile supremes, apple-piethons and wildebeets, just to name a few and the most memorable part of the film. "Meatballs 2," though obviously a fantasy, is much more of a stretch than the first film, making it less fun than the first but the cast has fun; along with Hader, Forte and Harris, listen for Anna Faris, James Caan, Andy Samberg and Terry Crews, all reprising roles from the first film. Even with that, young kids should enjoy themselves, even if "Cloudy with a Chance of Meatballs 2" isn't near as tasty as say, chicken and waffles. Peppered with some entertaining moments, it's still pleasantly unmemorable.

Wes's Grade: C+

Rush - B+

Rated R, 123 minutes

Compelling, fast-paced "Rush" should please those looking for one

Chris Hemsworth

Ron Howard's fast-paced, often thrilling new film "Rush" is a story about men and their cars, made better by the fact it's a true story. It's a big-screen re-creation of the merciless mid-1970s rivalry between European Formula One racers James Hunt (Chris Hemsworth) and Niki Lauda (Daniel Bruhl), focusing on the 1976 season that would forever change their lives. "Rush" is directed by Oscar-winner Howard and written by his "Frost/Nixon" scribe Peter Morgan, who won an Oscar for "The Queen." Both compelling and breathless, it will exceed your expectations of a movie about racing and is appealing even to those who don't have an interest in the sport. Unsurprisingly, the best reason to see "Rush" is the hair-raising, sublimely recreated race car scenes throughout the film, which will truly give audiences a rush, while it's less effective off the track. Howard does nicely contrast the two competitors, the brash Hunt versus the intense Lauda, though it's interesting as to who audiences will connect with. A slimmed-down Hemsworth is serviceable and given first billing as Hunt, but it's German-actor Bruhl, seen in "Inglourious Basterds," who is the most memorable in a breakout performance as Lauda. The smart but unlikable Austrian race car driver (who's still living) becomes the heart of the movie, with a personal story that resonates much more than Hunt's does, especially following a brutal, disfiguring car crash. The handsome but blandly likable Hemsworth, best known as Marvel Comics' Thor, is the main reason the film occasionally falters, particularly in "Rush's" early and middle sections, when it focuses on his first marriage to Suzy, played by Olivia Wilde (seen to better effect in the current rom com "Drinking Buddies"), a distraction that slows the film too much. "Rush's" rousing but slightly overlong last act is its best though that final lap could've easily come a lot earlier. A pleasant surprise, the stirring, intense "Rush," with impressive first-rate photography and music by Oscar winner Anthony Dod Mantle ("Slumdog Millionaire") and Hans Zimmer ("The Dark Knight"), respectively, along with solid script and direction, is one of the early fall's better films and comes recommended. Also, watch the final shots for actual (though brief) footage of the real men and their races.

Wes's Grade: B+

Inequality for All - B

Rated PG, 85 minutes

"Inequality for All" an informative doc on U.S. income gap

Robert Reich

The enlightening new documentary "Inequality for All" explores the widening income gap in the United States in recent years. Sound boring? Well, some it may seem so, but it's actually quite eye-opening if you're part of the struggling middle class who seems to work endlessly without having much to show for it. "Inequality for All" is presented by Former Secretary of Labor and American economist, author and professor Robert Reich, who expertly provides details on the gap in the U.S. as well as some personal stories by those affected by it. Compelling and relevant, admittedly "Inequality for All" is at its heart, dry material, but it does affect the 99% in this country who are not rich. Directed by Sundance award winner Jacob Kornbluth, plenty of graphs, pie charts and other data fill much of "Inequality for All," and the numbers do not lie; our income has not grown, mainly due to societal and economic changes in the last 40 years, such as the cost of higher education and the considerable increase and misuse of debt and corporate salaries (as a result, the film explains, the top 1% of earners now take in more than 20% of all income -- three times what they did in 1970). Even as Reich spends time outlining the data and the changes in policy, the most compelling are the personal stories; of those laid-off or going back to school for more education or those workers seeing their benefits and wages decreased as the work increases. It lacks a little focus when Reich spends time outlining his personal policies during the Clinton Administration, and as much as the film would like to stay non-partisan and balanced, it tips the scale when it reminds us once again that Clinton presided over the longest economic expansion of recent memory. But the diminutive (who uses his small stature to make some pertinent economic points) Reich is an intelligent, respected figure in the world of economics, and by and large, most of what he says is important, even if "Inequality" spends too much time subjecting us to his lectures on this subject and not enough time outlining what could be done to lessen the gap. Thought-provoking and engaging, "Inequality for All" highlights our middle-class struggles to work hard, spend wisely and save for our future. If the filmmakers really wanted to make a point, offer the film for free.

Wes's Grade: B

Baggage Claim - C

Rated PG-13, 96 minutes

Peppy, slight "Baggage Claim" is grounded in predictability

Paula Patton

The thin but likable new urban romantic comedy "Baggage Claim" has such an attractive cast, it's hard not to like it, in spite of barely there, predictable plot and reflex laughs.
Her younger sister's wedding fast approaching, single flight attendant Montana Moore (Paula Patton) racks up thousands of air miles in an attempt to find Mr. Right, with the help of her colleagues (Jill Scott, Adam Brody) and her longtime friend and neighbor (Derek Luke).  Pleasant, frivolous and sporadically filled with some fun moments, there isn't much to the unmemorable "Baggage Claim," directed and written by author and playwright David E. Talbert and based on his book of the same name, but it should be a modest hit with most of its target audience of middle-age women. Patton and Luke are blandly handsome leads, especially Patton, who can charm anyone with her big, lovely smile as the woman desperate to be married. Both are upstaged anytime Scott and Jenifer Lewis, as Montana's overbearing mother, are onscreen with a funny look or quip. Talbert, in only his second feature film with "Baggage Claim," ties everything up by the end with an ultra pat, happy ending, pleasing only those who truly enjoy this type of thing. Just know from the first time you see Patton and Luke together you know what will happen before the film's end. As some of her other suitors, watch for a parade of handsome actors, including Taye Diggs, Boris Kodjoe, Djimon Hounsou (a fine actor wasted in just a couple of brief scenes) and singer Trey Songz. Instantly likable but pleasantly forgettable, "Baggage Claim" is here today, gone tomorrow.

Wes's Grade: C

Don Jon - B

Rated R, 89 minutes

Brash, funny and smart "Don Jon" is a charmer

Joseph Gordon-Levitt

It isn't a perfect 10, but I'd give it a solid 7.5. "Don Jon" the movie that is, the assured, profanely funny new film from director, writer and star, Joseph Gordon-Levitt. It's not for everyone not everything is perfect, but it's unexpectedly moving. Jon Martello (JGL) is a modern day Don Juan whose friends call him Don Jon because of his ability to pull "10s" every weekend without fail. But his addiction to porn has made him dissatisfied with life and he sets out on a journey to find a more gratifying sex life, in the process learning more about life and love through two different women (Scarlett Johansson and Julianne Moore). "Don Jon" is a smart comedy (much like the recent "Thanks for Sharing") takes a few pokes at relationships, sex and porn addiction, all the while giving JGL fans generous fixes of their leading man. It also provides a breakout of sorts for Gordon-Levitt, with his confident direction, writing and acting, establishing himself behind the camera as well. Yes, it's profane, but not as profanely T&A as it could've gone for a film that touches (no pun intended) on porn addiction. JGL, always a likable actor, is a real charmer here whose clear inspiration may be any of the guys from "Jersey Shore" (laundry, gym and tanning) but with a little more depth. He also has decent chemistry with his leading ladies, Johansson and Moore, playing two very different women in his life. The efficiently made "Don Jon," as funny and even touching as it is, only skims the surface of some serious issues like porn addiction, clearly avoiding some of the more realistic consequences (i.e. STDs, support groups, therapy) that may arise from this problem. Yet, as long as JGL is on screen, and it is plenty, then "Don Jon" works just fine, filled with many entertaining scenes and will make you laugh more than you care to admit. Skip the porn and go see the smart, brash comedy from "Don Jon" with less regrets.

Wes's Grade: B

Enough Said - B

Rated PG-13, 93 minutes

Quirky, likable "Enough Said" explores the world of older dating, imperfect people

James Gandolfini and Julia Louis-Dreyfus

If you've ever been through the hassles of dating at any age, the pleasantly amusing, unconventional and altogether sweet romantic comedy "Enough Said" may resonate. Though it feels sitcomy and familiar, the light-hearted character study works well because of its two charming leads. A divorced and single parent, Eva (Julia Louis Dreyfus) spends her days enjoying work as a masseuse. She meets a self-absorbed future client named Marianne (Catherine Keener) at a party who also becomes a friend; at the same party, she also meets chubby, likable Albert (James Gandolfini), with whom she starts dating, unknowingly that Marianne and Albert are ex-spouses. Directed and written by Nicole Holofcener ("Friends with Money"), "Enough Said" is an engaging, often witty look at dating past 50 and navigating through flawed relationships and family. It has some of Holofcener's quirky character traits and is often as imperfect as its characters, but it works primarily due to the comic timing of recent Emmy-winner and genuinely charming Louis-Dreyfus and a low-key turn by Gandolfini in one of his last roles. Maybe it's because of Louis-Dreyfus, but the plot and characters feel an awful like her previous sitcom "The New Adventures of Old Christine" (which admittedly, is delightful due to her character); still, whether it's one of her hilarious facial expressions or her comic physicality, she's still hilarious and sweet as the woman truly caught in the middle of something she doesn't know how to get out of. Keener is also memorable as an unlikable woman with few friends, not to mention Ben Falcone and Toni Collette as the married friends with issues of their own. The immensely likable, amusing "Enough Said" is all-too familiar and nothing revelatory but it's worth seeing for Gandolfini and especially Louis-Dreyfus.

Wes's Grade: B

Thanks for Sharing - B

Rated R, 112 minutes

Mark Ruffalo and Gweneth Paltrow

Engaging "Thanks for Sharing" a lighthearted look at sex addiction

Yes, you read that right. You typically may not think of sex addiction as being lighthearted, but the new "Thanks for Sharing" is a remarkably charming but affecting look at the subject. It looks at several people navigating the rocky road of recovery. Adam (Mark Ruffalo) has been sober 5 years and now getting back in the dating scene with a lovely young woman (Gweneth Paltrow). Adam's sponsor Mike (Tim Robbins) has issues of his own with his wife and son (Joely Richardson and Patrick Fugit). Adam's sponsoree Neil (Josh Gad) is new to the program and finding what a challenge it is until he meets Dede (Alecia "Pink" Moore). Directed and co-written by Stuart Blumberg ("Keeping the Faith"), it's a flippant but well-acted look at what a rocky road recovery can be, especially for sex addicts. It's also efficiently and energetically told by Blumberg, and while its slightly uneven tone, particularly in its darker final act, throws the film off a bit, those who have had addiction issues of any kind may be able to relate. Of the three stories, Gad's was the most interesting, though Ruffalo, in a sturdy turn that shows his growth as an actor, grounds the film very believably. Robbins, in the film's most underwritten role, has also aged well while pop star Pink is a fun, likable addition to the cast. The honest, funny "Thanks for Sharing" adeptly shows some of the lighter side of addiction, and Blumberg makes it largely palpable as well. Worth the time for addicts and non-addicts alike.

Wes's Grade: B

Jayne Mansfield's Car - C-

Rated R, 121 minutes

Wildly erratic, odd "Jayne Mansfield's Car" channels Tennessee Williams

Robert Duvall and John Hurt

"Jayne Mansfield's Car" has little to do with Jayne Mansfield or her car, but mostly about messy familial relationships. Directed and co-written by Oscar-winner Billy Bob Thornton, it's intriguing on the surface but a weird mess in its execution. It's 1969 in a small Alabama town and four very different siblings (Thornton, Robert Patrick, Kevin Bacon and Katherine LaNasa) and their cranky father (Robert Duvall) must deal with the death of their long-estranged mother and wife, not to mention her other family (John Hurt, Frances O'Connor and Ray Stevenson), who comes into town for her funeral. Oddly charming, overlong and inconsistent, "Jayne Mansfield's Car" is barely watchable due to an eclectic cast that creates some unpredictable, bizarre moments. Where else will you find Oscar-winners Thornton and Duvall, acclaimed actor Hurt mix it up with comedian Ron White of "Blue Collar Comedy Tour" fame. The blustery White, in a small role as an in-law, seems to be having the most fun in a film that clearly is channeling Tennessee Williams, but instead of "Cat on a Hot Tin Roof" this is "Dead Dog on a Porch." Honestly, Thornton and particularly Bacon are miscast, Duvall is playing another cranky old guy that's made him famous while Hurt seems uncomfortable. The most memorable of the large cast is character actress Katherine LaNasa ("The Campaign"), whose character is by far the most honest in a family of unsympathetic, underdeveloped characters. You'd think that Arkansas native Thorton would have a good grasp on the Southern familial experience, but it all falls surprisingly flat under the slow-moving, odd narrative. "Jayne Mansfield's Car" is an unfortunate disappointment.

Wes's Grade: C-

Battle of the Year - D

Rated PG-13, 109 minutes

The dance crew in "Battle of the Year"

Silly "Battle of the Year" has the moves, little else

"Battle of the Year" is about b-boying, a style of street dance popularly known as breakdancing. Of course, this style of dancing is nothing new (see the 1984 movie about this "Breakin'"), the same of which could be said about this slight, unoriginal movie that offers little inspiration outside of its dance movies. "Battle of the Year" is about a rag-tag but talented group of guys including rapper Chris Brown led by a hard-luck coach (Josh Holloway) and his wide-eyed newbie assistant (Josh Peck) as they train to win an international breaking competition in France known as Battle of the Year. "Battle of the Year" is directed by Benson Lee and is inspired by his own (and far more engaging) 2007 documentary on the subject, "Planet B-Boy." Much like most (really all) films in this genre, the best part of the film is on the dance floor and should appeal most to those who have an interest in this; if only the predictable and silly paint-by-numbers story, acting and dialogue had as much panache and energy as the breakdancing, which admittedly is actually fun. The contrived, disappointing "Rocky"-esque ending tries to teach more about life than dancing, but all they could come up is "second sucks" (note to the filmmakers, the ending does too considering the premise). Holloway, best known as Sawyer on TV's "Lost" and former Nickelodeon star Peck, along with bad boy rapper Brown, who does show some dancing skills, all are intended to be the draw to "Battle of the Year" though we know the real draw and the only reason to see a movie like this is the dancing. See Benson's aforementioned "Planet B Boy" documentary for a far better take on the subject. No bad dialogue or acting. No annoying montages. Just some genuinely amazing dance moves.

Wes's Grade: D

Prisoners - C+

Rated R, 146 minutes

Well-acted mystery "Prisoners" also tedious and unfocused

Jake Gyllenhaal and Hugh Jackman

The new crime thriller "Prisoners" fits well into the fall movie going season. It has a heavy subject matter, an A-list cast and it runs longer than two hours. Tense and superbly acted, it's also much, much too long for what is essentially a standard whodunit and audiences may become restless and weary in its final act. After his six-year-old daughter Anna and her best friend Joy are kidnapped on Thanksgiving, small town carpenter Keller Dover (Hugh Jackman) butts heads with young, brash detective Loki (Jake Gyllenhaal) in charge of the investigation.  Dover begins to take things in his own hands when he captures one of the suspects (Paul Dano), who may or may not have a connection to the kidnappings. Directed by Canadian filmmaker Denis Villenueve, Oscar-nominated for 2011's "Incendies," "Prisoners" is a well-made and well-acted film hampered by an inefficient script by Aaron Guzikowski and tedious plotting. Its middle act in particular is a bit of a slog as it slowly goes from one clue to another and Jackman, in a strong performance, beats the living daylights out of poor Dano (intriguing at first, tiresome and redundant after the umpteenth beating). "Prisoners" could've benefited from a tighter, more focused script, instead it meanders in and out of some underwritten characters and plot points, including the characters played by Dano, Maria Bello, Terrence Howard and Viola Davis, when it should've focused on Jackman and Gyllenhaal's (in another solid turn) characters as they attempt to resolve the crime. Oscar-winning character actress Melissa Leo is terrific as Dano's guardian, who may be hiding more than she lets on, but even her role is minimal until the last half hour. "Prisoners" is a gritty, well-acted but tedious crime mystery that's about 30 minutes too long. Recommended for the performances, but your butt may feel like the real prisoners after sitting for so long.

Wes's Grade: C+

Museum Hours - B

Not Rated, 107 minutes

Low-key, observant "Museum Hours" takes the art-house film to a different level

The museum in the film "Museum Hours"

The keen but unusual new feature drama film from acclaimed American filmmaker Jem Cohen takes the tern "art-house film" very seriously. Part observation and part art lesson, it literally sees itself in the form of a painting. When Vienna museum guard Johann (Bobby Sommer) befriends an enigmatic visitor named Anne (Canadian singer Mary Margaret O'Hara), the grand Kunsthistorisches Art Museum becomes a mysterious crossroads which sparks explorations of their lives, the city, and the ways artworks reflect and shape the world. Directed, produced and written by Cohen, whose made mostly experimental or documentary films, the unconventionally affecting "Museum Hours," which explores and observes many notions, primarily how life imitates art and vice versa. Cohen's narrative is an unusual but engaging one; it begins focused on the friendship between Bobby and Anne, but will often pause his narrative for lengthy discussions on the influence of art or a specific painting, or a very different look at how art may shape or influence. While certainly a bit odd and meandering at times, these pauses add to the texture and tone of "Museum Hours," and wants to state that we as humans often make these pauses, and in turn, art itself is a pause in time to tell a story or make a statement. Cohen has also creates two engaging characters in Johann and Anne, and as their friendship grows, we care more about them too. "Museum Hours," much like art itself, isn't for everyone, especially those looking for violence, fast-pacing or action (though there is some art-influenced nudity, which may spark some interest). It occasionally lacks focus but then that may be the point. We all view art differently (including film), and it affects us all differently.

Wes's Grade: B

The Family - C+

Rated R, 111 minutes

Uneven, dark "The Family" a very familiar, occasionally fun crime tale

Michelle Pfeiffer

A little of this, a little of that and you end up with the unoriginal new crime comedy "The Family." Very dark, very violent and very uneven, it's admittedly fun in places though far from great. A mafia boss (Robert DeNiro) and his family are relocated to a sleepy town in France under the witness protection program after snitching on the mob. Despite the best efforts of Agent Stansfield (Tommy Lee Jones) to keep them in line, Fred Manzoni (DeNiro), his wife Maggie (Michelle Pfeiffer) and their children Belle (Dianna Agron) and Warren (John D'Leo) can't help but revert to old habits and blow their cover by handling their problems the "family" way, enabling their former mafia cronies to track them down. Directed and co-written by acclaimed director Luc Besson ("The Professional," "Nikita") and handsomely filmed largely on location in France, "The Family" is a familiar crime mish-mash, though its miscasting and wild last act throw the film off course. DeNiro's in lovable crime boss mode again, one in which he can play in his sleep and nearly does in a sheepish turn. He and Pfeiffer, along with the usually gruff Jones, are all good but miscast; by now they're simply too old for something like this and should be playing grandparents or retirees instead of parents here. The plotting and characters are too much like their other films, particularly DeNiro's: take a little of "Analyze This" and "Married to the Mob" and throw in a little "Meet the Parents" a dash of "U.S. Marshals," a pinch of "Ronin" and a sprinkle of "Grumpy Old Men" and you and you have "The Family." Admittedly, it is nice seeing Oscar-winner (and fellow nominees this year) DeNiro and Jones together, and their grouchy old men scenes together are the most fun, in particular an inspired scene where a film club shows none other than "GoodFellas" at their meeting. "Glee's" Agron and newcomer D'Leo, as their equally psychotic, smart children, are much more believable and amusing than their parents (Agron makes very good use of a tennis racket here). What starts out as a mildly fun, somewhat dark fish-out-of-water story turns into a violent, lazy crime spree spilling more blood and bodies than you can count. The messy, craggy "The Family" is peppered with some dark fun, but you can do better.

Wes's Grade: C+

Insidious Chapter 2 - C

Rated PG-13, 105 minutes

Patrick Wilson as Josh

Tame "Insidious Chapter 2" provides more cheesy PG-13 scares

Who is that woman standing behind you? What's behind that red door? The cheesy fun "Insidious Chapter 2," the unnecessary sequel to the 2011 hit horror film "Insidious" is back to answer those questions and more, while providing some bloodless PG-13 thrills that will please and appeal to a wider audience. Picking up right where the first film ends, the Lambert family (Patrick Wilson, Rose Byrne) are happily reunited after Josh went into the Further to get his son Dalton (Ty Simpkins) back, though it left their good friend Elise (Lin Shaye) dead. However, the paranormal events don't stop and become more and more terrifying. When the family begins to notice strange behavior from Josh, they start to wonder; is it really Josh that came back from the Further? Directed by James Wan and written by Leigh Whannell (who has a small part here providing comic relief), makers of the "Saw" franchise and the recent horror hit, "The Conjuring," which also starred Wilson. The first film was a big hit because it was original, tense and less dependent on gore; this film is less original but still provides some cheap thrills, aided by the creepy strings-heavy score by Joseph Bisara, who memorably scored the first film along with "The Conjuring" and an always funny, endearing character actress in Shaye as dearly departed Elise, who added some pep to the first film. Shaye has much less screen time here and the film suffers without her, particularly in a murky, plodding middle act that drifts way too much. But Wan, Whannell and company keep the thrills coming, even when it doesn't make much sense as well as difficulty in buying the bland Wilson as the villain. It all works out in the end, or does it really...leaving the bright red door open for more scary thrills. In spite of being such a big hit two years ago, I still gave the tame "Insidious" a C+ and I give the same to an equally tame "Insidious Chapter 2." Not because it isn't cheesy fun, but because in the end, it just wasn't scary enough. Go if you must but for better director and star it's still not too late to see "The Conjuring."

Wes's Grade: C

Drinking Buddies - B

Rated R, 90 minutes

Effusive "Drinking Buddies" offers insight into complications of the friend zone

Jake Johnson and Anna Kendrick

It's never more frustrating to be in the "friend zone" with someone you're attracted to but may or may not feel the same way. The charming but low-key rom com "Drinking Buddies" refreshingly explores the complications of male-female friendship. Kate (Olivia Wilde) and Luke (Jake Johnson) are co-workers at a Chicago craft brewery, where they spend their days drinking and flirting. They're perfect for each other, except that they are both in relationships: Kate is with Chris (Ron Livingston), and Luke is with Jill (Anna Kendrick). Their relationship takes a different turn when Luke and Kate unexpectedly find themselves alone for a weekend. Directed and written by Joe Swanberg (also an actor seen recently in the horror film "You're Next"), it's a pleasant, open-minded and different take on young adult relationships. What's most refreshing is the solid direction and writing from unlikely but talented Swanberg, best known for starring in and/or directing low-budget horror films such as "V/H/S." It also helps that it's realistically acted by the leads, especially "New Girl's" Johnson and Wilde ("People Like Us"); maybe it's because Swanberg allowed his actors to improvise many of the scenes, which adds a natural, genuine feel to a story that could've taken more calculated turns in a more mainstream film. "Drinking Buddies" is remarkably affecting, well-acted and less predictable, with a braver ending than you would find in the genre. Worth a look whether in the friend zone or not.

Wes's Grade: B

Riddick - B-

Rated R, 119 minutes

Diesel is back as gruff "Riddick" and more enjoyable, mindless entertainment

Vin Diesel as Riddick

If there's such a thing as a mindless science-fiction film, then "Riddick" is that film. This is the third outing for Vin Diesel as the title character, following 2000's "Pitch Black" (the best in this series) and 2004's "The Chronicles of Riddick." A flimsy but enjoyable sci-fi action film made on a modest budget to capitalize on Diesel's "Fast and Furious" mega-stardom, it's an entertaining yet overlong sci-fi ride that appeals most to science-fiction enthusiasts. Betrayed by the Necromongers and left for dead on a desolate planet, Riddick (Diesel) fights for survival against alien predators and becomes more powerful and dangerous than ever before. Soon bounty hunters from throughout the galaxy descend on Riddick only to find themselves pawns in his greater scheme for revenge and his quest to return to his home planet. Directed and co-written by David Twohy, who also directed the first two films, "Riddick" is both tense and fun, peppered with some nicely staged action after a sluggish first half hour. While the story goes on too long and reminds too much of other, better films in the genre ("Predator" or "Aliens"), it wisely focuses on the action and Diesel's gruff demeanor, giving him minimal (and somewhat cheesy) dialogue and places him with a CG dingo, who steals most of his scenes. As for the cast, this is Diesel's show, but sci-fi fans should watch for "Battlestar Galactica's" Katee Sackhoff, memorable here in tough-chick form who kicks almost as much booty as our bald hero. With decent special effects, energetic action set pieces and a scowling lead, "Riddick" works best as an action film than the second or third tier science fiction it really is. It's nice post-Labor Day entertainment you don't have to think much about before the heady fall movie season.

Wes's Grade: B-

Short Term 12 - B+

Rated R, 96 minutes

Dark yet touching, "Short Term 12" will stay with you

Brie Larson

"Short Term 12" is a compelling, worthwhile new character-driven drama and a great alternative to the summer blockbusters we've had to endure the last few months. Intense, dark, funny and genuinely acted, it takes an unconventional view of how to inspire young people. Grace (Brie Larson) has dedicated her life to helping kids who have slipped through the cracks of the system. Committed to her job and in love with kindhearted co-worker Mason (John Gallagher Jr.), she's still struggling to make sense of her own troubled past when she learns that her life is about to change forever. Directed and written by newcomer Destin Daniel Cretton in his feature film debut and based on a previous short film by Cretton, it's one of the more satisfying and superbly acted independent dramas seen this year. It also features several breakout performances, namely from singer and actress Larson (seen in a small role in another recent dark drama, "The Spectacular Now") as the passionate but tough foster-care worker and Tony-award winning actor Gallagher as her understanding co-worker and boyfriend. Taking place at a foster facility for at-risk teens, 'Short Term 12" could've easily been a maudlin save-the-children TV movie week, but the portrait here, while tender, is largely unsentimental. The no-nonsense, low-key script and direction by Cretton (an auspicious debut) gives a little breathing room for his actors, generating a believable intensity and chemistry, particularly from Larson and Gallagher, who make for a realistic young couple struggling to communicate. The last act falters a bit, though, as it veers off into one of the teens subplots a little too much, making some of Grace's actions less palpable, not to mention some may find its tone depressing (and some of it is), though others may appreciate its dark humor. Winner of the Grand Jury and Audience prizes for Narrative Feature at this year's SXSW (South by Southwest) Film Festival, "Short Term 12" is an enriching and moving film. Put this one on your personal list to see as a start to the fall movie-going season.

Wes's Grade: B+