Jackass Presents: Bad Grandpa - C

Rated R, 91 minutes

"Bad Grandpa" serves up same old, cheap laughs

Jackson Nicoll and Johnny Knoxville

"Bad Grandpa" is a stale extension of the hugely profitable, profane hidden-camera MTV series "Jackass," which ran its course over three sequels. It's back, sort of, with Irving Zisner, the Johnny Knoxville-created Grandpa character featured in some of the "Jackass" pranks. Grandpa and his grandson Billy (actor Jackson Nicoll) trek across country, pranking people on hidden camera along the way. Inane and utterly unnecessary, Knoxville and his "Jackass" director Jeff Tremaine are back for more hijinks and stupid shtick in this spinoff, except the pranks unfold from a more structured story than the plotless "Jackass" movies. Problematic is that this plot isn't funny and the pranks generally aren't as good or as elaborately staged as the "Jackass" stunts. Knoxville, a charming actor who's become sort of a contemporary, low-brow Allen Funt, admittedly garners some laughs and funny reactions from onlookers as he plows through a furniture store or boisterously crashes a bingo parlor, but overall there's fewer outrageous laughs than the "Jackass" movies usually produce. Cheaply produced and really just a silly string of bad, smutty jokes, "Bad Grandpa" will attract enough of the "Jackass" following to still turn a profit, even if it has a been-there, done-that feel to it.

Wes's Grade: C

12 Years a Slave - A-

Rated R, 134 minutes

Benedict Cumberbatch and Chiwetel Ejiofor

Brutal, powerful "12 Years a Slave" reminds us of a dark chapter in U.S. history

"12 Years a Slave" is a brutal, gripping reminder of one of the darkest times in U.S. history, a time when the insitution of slavery existed. Part pertinent history lesson and part captivating personal story, it's superbly acted over a fascinating but difficult story to watch. It tells the story of Solomon Northup (Chiwetel Ejiofor), a New York State citizen who was kidnapped and made to work on a plantation in New Orleans in the 1800s, initially working for a kind plantation owner (Benedict Cumberbatch) but who is then sold to a much more harsh slaveowner (Michael Fassbender) from whom he escapes again for his freedom after 12 years. Directed by Steve McQueen ("Shame") and written by John Ridley ("Red Tails") and based largely on Northup's account, it's a superbly acted, compelling and merciless story of a shameful period in United States history. The last act in particular is difficult to watch as Fassbender's torturous slave owner enters the picture, and while it is universally well-acted, Ejiofor and newcomer Adepuro Oduye are the most memorable and often very hearbreaking, as Northup and a fellow slave named Eliza, both of whom must endure beatings, whippings and all sorts of inhuman treatment. Fassbender and Sarah Paulson, as the brutal slaveowner and his equally harsh wife, are strong amongst a large cast that also includes Cumberbatch, Paul Giamatti, Paul Dano, Alfre Woodard and in a small part, co-producer Brad Pitt. Because of the film's somewhat excessive brutality and depressing storyline, the film isn't for everyone, but if you see it, there are many images that will stay with you long after the film is over. "12 Years a Slave" should garner a host of Oscar nominations, from the acting, to its ultimately triumphant story to the lush photography, the energetic score and its realistic sets and costumes, all of which are first-rate. "12 Years a Slave" is one of the year's best and most gripping films, and put this on your list to see before it starts winning some well-deserved awards.

Wes's Grade: A-

The Counselor - C+

Rated R, 111 minutes

Stylish but unsatisfying "The Counselor" all over the map

Cameron Diaz and Penelope Cruz

In spite of a talented director, an acclaimed writer and a gifted, award-winning cast, the slick but unsatisfying thriller "The Counselor" fails to deliver the goods. The film tells the story of a greedy lawyer, known only as The Counselor (Michael Fassbender), who finds himself in over his head when he decides to delve into the dark world of drug trafficking. Entangled with him is his naive girlfriend Laura (Penelope Cruz); Westray (Brad Pitt), a seedy middleman and Reiner (Javier Bardem) and Malkina (Cameron Diaz), a mysterious and dangerous couple. Directed by Ridley Scott, written by Cormac McCarthy ("No Country For Old Men") writing his first original screenplay, "The Counselor" is a vapid thriller that gets points for style but is otherwise all over the place in developing its story and characters. There are a couple of memorable scenes (Pitt's demise and Diaz's romp on a car windshield), but the film jumps back and forth from one character to another, enough time to just skim the surface. Interestingly, Scott's usual heavy-handed visual flair is toned down some here (very few jumpy edits), and while the film has a nice, dark and often bloody sheen to it, it fails under McCarthy's scattershot screenplay, which inserts a few stilted, heady monologues about life and death that provide little insight. Fasssbender has the best performance though a miscast Diaz will receive the most notices as a brilliant but scary sociopath; the role of a strong woman like this requires a strong actress, and as devilish as Diaz tries to be, she doesn't deliver. Bardem chews through the scenery, while his real-life wife Cruz is wasted in a very small role as Fassbender's love interest. "The Counselor" has a few entertaining scenes, but considering the talent involved in front of and behind the camera, it's a disappointment.

Wes's Grade: C+

Carrie - C-

Rated R, 92 minutes

Unnecessary version of "Carrie" a mess, offers few scares

Chloe Grace Moretz

Remakes can be tricky, especially ones based on very familiar Stephen King stories. The original, very frightening version of King's "Carrie" was made in 1976, starring Sissy Spacek and Piper Laurie and was huge hit. The new "Carrie," directed by "Boys Don't Cry" Kimberly Peirce, isn't a total fiasco but still problematic. Carrie White (Chloë Grace Moretz) is a shy girl outcast by her peers and sheltered by her deeply religious but abusive mother (Julianne Moore), who unleashes telekinetic terror on her small town after being pushed too far at her senior prom. This "Carrie" has some good points: it's well-cast, age appropriate and is more faithful to King's novel, but overall lacks the chilling originality of Brian De Palma's classic film, which still produces nightmares to this day. The biggest problem with the new "Carrie" may be the familiarity with the book and the indelible first film, which made a huge star out of Spacek and garnered Oscar nominations for her and Laurie, who played the creepy Mom so well. This essentially renders the new version unnecessary, and certainly not as scary as the first, and bottom line the new movie is a mess narratively and technically. Some contemporary touches (cell phones, You Tube etc.) are to be expected but lack relevancy, while others (a bizarre prologue and a brief flying stint by Carrie) don't work at all. Worst of all, the shoddy 1970s-esque, haunted house-like special effects of flying objects and beds (really?) and Peirce's crucial mishandling of the bloody climax, so powerful and frightening in the original, is devoid of any real chills. Peirce, really the wrong choice of director for this, also wastes two fine actresses in Moretz and Moore, both inspired casting choices but lacking the genuine creepiness of Spacek/Laurie. This needless, gratuitous version of "Carrie" is a disappointment, but some will still show up out of curiosity. Don't waste your time and rent the much scarier, chilling 1976 De Palma version.

Wes's Grade: C-

I'm in Love With a Church Girl - D

Rated PG, 118 minutes

Third-rate "Church Girl" delivers honorable message, little else

Adrienne Bailon and Ja Rule

"I'm in Love With a Church Girl" highlights the struggle between good and bad, but mostly shows how a bad movie with a good message can be made. Miles Montego (rapper Ja Rule) has it all: money, women and a large house. As a former drug dealer, he's trying to move on, but the DEA (led by Stephen Baldwin) isn't convinced since he still hangs with some of his former colleagues. He falls in love with a Christian girl ("Cheetah Girls" Adrienne Bailon) and his life changes, though he struggles to let go of his past. Produced and written by pastor Galley Molina and based on his own experiences, "I'm in Love With a Church Girl" (filmed in 2010 and sitting on the shelf awaiting distribution) is about the struggles we have with faith, though it also shows the struggle with films like this to get made, with limited budget, casting and serious lack of decent production values. "Church Girl" has those same third-rate values, though unlike some of those other films it does feature a handful of known performers, including Ja Rule, Bailon, Baldwin, Vincent Pastore and a blink-you'll-miss-it-cameo from Tarantino veteran Michael Madsen. While most of those performers have their own following, the appeal is still limited to the church-going set, who will likely get the most out of this and not care how awful the script, direction and acting truly are, in spite of two charming leads who try their best given the laughable, maudlin  material. Molina, who cameos in the film and has a mostly honorable message (the use of a Lamborghini is of questionable theology, though), can't be faulted for wanting to get his testimony of how God changed his life to a wider audience, but "I'm in Love With a Church Girl," while it nails the good values message down, needs better cinematic values to win more converts to faith-based movies like this. I would recommend trying straight-to-DVD next time. Could be an interesting double feature with this week's horror remake "Carrie."

Wes's Grade: D

The Fifth Estate - C+

Rated R, 128 minutes

Well-acted but sluggish "Fifth Estate" doesn't do its source justice

Daniel Bruh and Benedict Cumberbatch

"The Fifth Estate" is about famous activist and investigative journalist Julian Assange, founder of the globally recognized website WikiLeaks, which publishes classified information from various, secret sources. Assange is an intriguing, ego-driven subject worthy of a movie, though the uneven, mildly listless thriller "The Fifth Estate" doesn't do him justice. The film explores the rise of Assange (the ubiquitous Benedict Cumberbatch) and his website WikiLeaks, as told through the eyes of former colleague Daniel Domscheit-Berg ("Rush's" Daniel Bruh), whose account of the story is one of the main sources of the film. Directed by Bill Condon ("Dreamgirls") with a screenplay by TV's Josh Singer, "The Fifth Estate" is memorable mainly for Cumberbatch's entertaining portrayal of the internet activist, yet the film only skims the surface of Assange personally. "The Fifth Estate" is problematic for several reasons, namely Condon's heavy-handed direction; he seems to be the wrong fit for the material and can't find the balance for a character-driven thriller such as this. As well, Singer's script is dry and isn't exactly revelatory into Assange's life, providing very little connection between the man and his dangerous website, lacking a sense of urgency or relevancy given Assange's impact on 21st century news reporting. Condon also feels the unnecessary need to metaphorically play out the characters real life actions, an annoying contrivance that adds little to the film. The best thing about "The Fifth Estate" is the charming performance from Cumberbatch ("Star Trek Into Darkness"), who is having a terrific year in movies, providing a beguiling energy the film overall lacks, even if the internet can provide more insight into Assange than this film does. As his colleague Berg, Austrian actor Bruh is also very good, and he and Cumberbatch share an odd but convincing warmth together on screen. The first hour of "The Fifth Estate" is a bit of a drag as it slogs through the website's early days until it picks some steam when it hits the U.S. with the Brandon Manning scandal, which is still playing out in the news. Laura Linney, Stanley Tucci and Anthony Mackie also appear as U.S. government officials and while they're good in small, foolproof roles (especially the always smart Linney), Condon underuses them in underwritten roles. Assange, who has unsurprisingly voiced strong opposition to "The Fifth Estate," is a fascinating subject who has given some justice to the news, too bad you wouldn't know it from this lethargic, uninteresting thriller.

Wes's Grade: C+

The Escape Plan - C

Rated R, 116 minutes

Preposterously entertaining, "Escape Plan" pairs two old and too-old action stars

Arnold Schwarzenegger and Sylvester Stallone

Don't think about it, just go see it. That would be what Sylvester Stallone and Arnold Schwarzenegger want you to do with their latest mindless action movie "Escape Plan." And admittedly, these guys keep coming back and keep trying so hard to entertain, even in slick, fast-paced and altogether stupid schlock such as this.  One of the world's foremost authorities on structural security agrees to take on his hardest job: breaking out of an ultra-secret, high-tech facility called "The Tomb." Deceived and wrongly imprisoned, Ray Breslin (Stallone) must recruit fellow inmate Emil Rottmayer (Schwarzenegger) to help devise a daring, nearly impossible plan to escape from the most protected and fortified prison ever built. Ludicrous and utterly preposterous would be understatements in describing "Escape Plan," but it also is rarely dull, modestly watchable and occasionally fun. Directed by Swedish director Mikael Håfström, who directed the John Cusack thriller "1408," it pairs Stallone and Schwarzenegger in their first outing together ("The Expendables" movies are ensemble action pieces, if you want to call them that) and for what it's worth, they do seem to enjoy working together, even if the movie itself is unsurprisingly subpar for them. Preposterously contrived and laughably serious, "Escape Plan" is one the downright silliest, stupidest things I've seen in some time, but I will also admit to being entertained by these two old action stars well past their prime. Even surrounded by a talented cast including a milquetoast villain in "Person of Interest's" Jim Caviziel, along with Amy Ryan, Vincent D'Onfrio, 50 Cent, Vinnie Jones and even Sam Neill, you still must face the fact that Sly and Arnold are just simply too old for this thing; you quickly lose count of all the fast edits, stunt doubles and incredibly good hairpieces that somehow stay in place (Sly you aren't fooling anyone!). "Escape Plan" does have a quick, crowd-pleasing energy to it that's a predictable cross between "Under Seige" and "Con Air" minus Seagal and Cage, both of whom would fit in perfectly here. Ridiculous, mindless fun. Guilty pleasure. It's maybe even "Die Hard" on a boat. Whatever you call it, "Escape Plan" isn't a great movie, but it manages to entertain, and at this point in their careers, Sly and Arnold should be thankful for at least that.

Wes's Grade: C

Captain Phillips - A-

Rated PG-13, 134 minutes

Riveting, searing "Captain Phillips" an intense true story

Tom Hanks

The captivating new thriller "Captain Phillips" from director Paul Greengrass ("The Bourne Ultimatum") and starring Tom Hanks is hands down one of the best action thrillers of the year, and is made more compelling by the fact that it's a true story. Richard Phillips (Hanks) is the captain of the Maersk Alabama, a cargo ship on a routine run to Kenya when it's hijacked by several Somali pirates, the ringleader named Muse (Barkhad Abdi). When the pirates kidnap Phillips, a tense standoff ensues between the pirates and the U.S. Navy. Masterfully directed by Greengrass and written by Billy Ray ("The Hunger Games" and based on Phillips' book of the account, it's enthralling, superbly acted and filled with an edge-of-your-seat intensity lacking in many films today. Even more fascinating is the fact it's a true story, and helped by the realistic cinematography as well as pulse-pounding music and first-rate editing that keeps the film flowing along. "Captain Phillips" marks a stellar return to form for Hanks, whose career has lagged in the last few years; you feel every inch of his pain in the debriefing after it's all over, one of the film's more memorable scenes. Though it's all Hanks' film, newcomer Abdi, as Phillips' counterpart for the pirates, is also memorable, showing a more humane side to them. On that note, the film's attempts to form a "we're actually alike" type of bond or connection doesn't work as well, and you never get a sense that the two men were actually close in any way. The final, fast-paced and searing act of "Captain Phillips" is its best and one of the most nerve-racking sequences seen in the movies this year; it's in those final, heart-wrenching moments where Hanks shines through best and will certainly earn his next Oscar nomination. Though true stories like this don't entirely escape embellishment or controversy, you can't deny the fact that the real Captain Phillips was brave and courageous. You also won't deny that the movie "Captain Phillips" is one of the most riveting films this year, and should figure heavily into the upcoming awards season. Welcome back, Mr. Hanks, it's nice to see you again.

Wes's Grade: A-

A.C.O.D - B-

Rated R, 87 minutes

Charming "A.C.O.D." a sharp look at family dyfunction


Adam Scott

Whether or not you are divorced or come from a divorced family, you'll still get a kick out of the amusing, witty new comedy "A.C.O.D," which stands for Adult Children of Divorce. Though imperfect as its characters, with a stellar cast and some pointed comical observations, there's plenty to like here. Carter (Adam Scott) is a well-adjusted Adult Child of Divorce. So he thinks. When he discovers he was part of a divorce study as a child, it wreaks havoc on his family and forces him to face the chaos of his past as his younger brother's (Clark Duke) wedding threatens to actually bring his divorced parents (Catherine O'Hara and Richard Jenkins) together again. Directed and written by Stu Zicherman, who as a real A.C.O.D. should know something about the subject, it's a little sketchy and nothing new, but Scott and a superb comical cast, including Jane Lynch, O'Hara, Jenkins, Duke, Mary Elizabeth Winstead and Scott's "Parks and Recreation" co-star Amy Poehler make the material better, delivering some sharp dialogue that would please Christopher Guest ("Best in Show"). Scott, best known for his warm appeal on TV's "Parks and Recreation," grounds the film with a sensible, voice-of-reason appeal that's he known for; O'Hara and Jenkins are a nutty delight as is Lynch, though it would've been nicer to see more of the underused Poehler and Winstead and less of the generally unfunny Duke. "A.C.O.D." chases too many rabbits in its last act in a sitcom-y way, needlessly gathering all the cast members together for some random silliness, but Zicherman ends it on a brave note for something like this. The delightful "A.C.O.D." doesn't shed much light on the subject (except for the memorably profane nickname given Poehler's stepmother character), but you'll find some generous laughs from a winning cast.

Wes's Grade: B-

Romeo and Juliet - C+

Rated PG-13, 97 minutes

Handsomely filmed but bland version of "Romeo and Juliet" lacks passion

Hailee Steinfeld and Douglas Booth

Shakespeare's epic, tragic play "Romeo and Juliet" comes to life in a new version with help from the creator of TV's immensely popular "Downton Abbey." Handsomely staged and well cast, this blander version of "R&J" lacks the passion of previous versions, including Zeffirelli's 1968 popular film and Baz Luhrmann's 1996 MTV-inspired take on the star-crossed lovers. Romeo (British TV actor Douglas Booth) and Juliet ("True Grit's" Hailee Steinfeld) fall in love in Renaissance-era Verona though the two come from rival families that seemingly make it impossible for their love to survive. Directed by Italian film director Carlo Carlei, it's written by Julian Fellowes of "Downton Abbey" fame based on Shakespeare's tragic play, it has some impassioned moments but lacks the intensity and fervor of its original source. The film has already stirred controversy by not using Shakespeare's original dialogue, though it still follows the traditional setting and plotting of the play, which is actually not a bad idea (but a very risky one) to help contemporary audiences understand some of the deeper meanings of Shakespeare's work. That risk doesn't seem to pay off as it only seems to skim the surface of many issues, and this "Romeo and Juliet," while serviceable, overall is a vapid, sometimes uneven take on the tragic lovers. It would help, for example, if all the actors used accents, some do, some don't and some attempts at it are feeble, a jarring move that makes it feel more like a high school play; it also seems to delve into the young pair's relationship quickly without much backstory. The photography, costumes and music are all very nice, but the movie would've benefited from a stronger director to better execute its creative risks. Steinfeld and Booth are well-cast as the titular characters, though Oscar-nominee Paul Giamatti, the most well-known of the cast, upstages them in a supporting role as Friar Laurence, while Australian Kodi Smit-McPhee ("Let Me In") is also memorable as a tender Benvolio. The ending, of course, is the most compelling part of any version of "Romeo and Juliet," and this version is no different, too bad the rest of the film lacks the passion of those final moments. For Shakespearean purists, I wouldn't recommend it, for those unfamiliar with it, it's a mildly entertaining, though flavorless take on the classic tale.

Wes's Grade: C+

Machete Kills - B

Rated R, 106 minutes

Amber Heard and Danny Trejo

"Machete Kills" is more trashy B-movie fun from Rodriguez

The sensationally sleazy, low-grade "Machete Kills" is the sequel to the guilty-pleasure hit "Machete" and continues the ridiculously over-the-top exploitation action from Robert Rodriguez, one hardly known for subtlety. If you don't take it seriously then "Machete Kills" works just fine. Danny Trejo returns as ex-Federale agent Machete, the Mexican who carries a big knife, who is recruited by the President of the United States (Charlie Sheen) for an impossible, near-suicide mission, to take down a madman revolutionary (Demian Bichir) and an eccentric billionaire arms dealer (Mel Gibson) who has hatched a plan to spread war and anarchy across the planet. Acclaimed, efficient filmmaker (and Texan) Rodriguez again brings us his character Machete, which originally started as a fake trailer in the 2007 film "Grindhouse" and then morphed into a real series of trashy B-grade films. Directed, produced, written, edited and shot by Rodriguez, the real star of the film may be Rodriguez himself, who incredibly filmed all of this in less than 30 days. Admittedly, he can certainly overdo it in a big cheese ball sort of way, but an entertaining, fast-paced cheese ball it is; it's wildly all over the place, but taken as B-grade exploitation, the mindless "Machete Kills" can be an entertaining blast (literally). An extensive cast including Gibson, Bichir, Michelle Rodriguez, Amber Heard not to mention pop star Lady Gaga and Sheen (billed under his real name, Carlos Estevez, but we know you, Charlie) all tearing up the screen, though the most memorable of the large cast is "Modern Family's" Sofia Vergara, who fires a machine gun from her private parts with great skill. However, if violence isn't your thing, then stay away from "Machete Kills" as from start to finish it's filled with buckets of blood, body parts, big weapons and anything else that Rodriguez can throw in. With so much to take in, you must be in the right frame of mind to truly enjoy this movie: if you're expecting high art or don't care for violence, then "Machete Kills" is not for you. If you want to have mindless, trashy fun and a few laughs with friends, then you will enjoy it immensely. Guilty-pleasure entertainment for sure, and Rodriguez has yet another "Machete" film planned (perhaps set in space?).

Wes's Grade: B

Parkland - C

Rated PG-13, 93 minutes

Forgettable "Parkland" an unfocused view of tragic events

Paul Giamatti and Billy Bob Thornton

The mediocre new drama “Parkland” is the latest feature film about the Kennedy assassination, its release timed for the 50^th anniversary of the tragic events. The large ensemble film based on the book “Four Days in November: The Assassination of President John F. Kennedy” by Vincent Bugliosi wisely stays away from conspiracy theories, but the unfocused, shoddy film is stuffed with too many characters and plotlines. “Parkland” weaves together the perspectives of some individuals suddenly thrust into extraordinary circumstances: the young doctors and nurses (Zac Efron, Colin Hanks, Marcia Gay Harden) at Dallas' Parkland Hospital; Dallas’ Chief of the Secret Service (Billy Bob Thornton) who tracks down Abraham Zapruder (Paul Giamatti) who unwittingly captured what became the most famous home movie in history; the FBI agents (Ron Livingston, David Harbour) who were visited by Lee Harvey Oswald before the shooting; the brother and mother (James Badge Dale and Jacki Weaver) of Lee Harvey Oswald, left to pick up pieces; and JFK’s security team (Mark Duplass and Tom Welling), witnesses to the life-changing tragedy. Co-produced by actors Tom Hanks and Bill Paxton with direction and screenplay by Peter Landesman in his feature film debut, “Parkland” (which was filmed mostly in Austin rather than Dallas) has a few compelling moments but is a weak, overly ambitious effort that would've been more effective as a TV miniseries, with more time to explore all the people presented in the film.  Landesman's scattered direction and script doesn't really focus on one, creating an uneven flow with so many characters coming in and out; even its most powerful scene, the sequence in which the hospital staff attempt to save Kennedy, is probably overstated from the real events (Kennedy was essentially dead by the time he arrived to the hospital). Of the large ensemble, the most memorable is Giamatti as an emotional Zapruder and TV actor Dale, who plays Oswald's brother with heartfelt pensiveness. "Parkland" is an unusual name for the film given the unfortunate hospital and its characters the weakest aspects of the film. Even more unfortunate is that “Parkland” the movie is a forgettable attempt to honor someone as memorable as Kennedy.  For a more entertaining effort on the same subject, check out Oliver Stone’s 1991 film “JFK.” 
 
Wes's Grade: C

Runner, Runner - C-

Rated R, 91 minutes

Handsome "Runner, Runner" a bland, unsatisfying thriller

Ben Affleck and Justin Timberlake

Don't take a chance on the sloppy, bland new crime thriller "Runner, Runner" starring recent Oscar-winner Ben Affleck and superstar singer Justin Timberlake. This vapid drama has an intriguing story but lacks depth, even with a nice turn by Affleck. Richie (Timberlake), a Princeton college student who pays for school with on-line gambling, bottoms out and travels to Costa Rica to confront the wealthy, on-line mastermind Ivan (Affleck) only to be lured into the lavish but dangerous operation. Directed by Brad Furman ("The Lincoln Lawyer") and written by Brian Koppleman ("Ocean's Thirteen"), it's a handsome but forgettable drama that never goes beyond surface level blathering on about online gambling. Actor-for-hire Affleck, as a rather milquetoast bad guy, is the best thing about the bland "Runner, Runner" and only reminds us of what a great director he is. The woefully miscast Timberlake is what really hurts the film; while he may be a talented singer, his limited acting skills (wide eyes, blank stare, rote line readings) drag the film down considerably, though it's not all his fault. With such lazy direction, scripting and editing, "Runner, Runner" runs mostly on empty: it doesn't fully explore its characters or their motivations, jumping from one scene to another without great explanation and giving the feeling there wasn't much to work with. It really runs out of gas by the time it gets to its unsatisfying, unsurprising climax, which could've been preposterous fun; instead, it's so badly executed and so abrupt it may leave you baffled by everything that came before it. Affleck and Timberlake fans should turn out, but don't take the risk on such a dull bet like "Runner, Runner."

Wes's Grade: C-

Gravity - A

Rated PG-13, 91 minutes

Stunning "Gravity" is a gripping, intense and lovely ride

Sandra Bullock

If you're thinking about becoming an astronaut, the riveting new space drama directed by Alfonso Cuaron ("Children of Men") and starring Sandra Bullock and George Clooney is a strong argument against it, but it has enough heart-pounding thrills to also propel you into space. Bullock is Dr. Ryan Stone, a brilliant medical engineer on her first shuttle mission, with veteran astronaut Matt Kowalsky (Clooney). But on a seemingly routine spacewalk, disaster strikes. The shuttle is destroyed, leaving Stone and Kowalsky completely alone. A rare film in which critics and audiences will both agree, the vivid "Gravity" is a sensational film on several different levels. Above all, it's a dazzling technological triumph from Cuaron, who directed, edited and co-wrote the film with his son Jonas. From the amazing, first-rate visuals to the beautiful photography by Oscar-nominated Emmanuel Lubezki (used frequently by Cuaron and Terrence Malick), it's a lovely work of art which can be appreciated by both cinema enthusiasts and the average moviegoer; you will gaze in wonder while also being terrified. There are moments where the 3D is also well-utilized, from flying debris to some tears streaming from Bullock's face right into the audience. Second, it's an incredibly moving, accessible personal story and finely acted by both Clooney, whose swaggerish astronaut role is a supporting one, and especially by Bullock, who carries the film on her shoulders in one of her most agonizingly human performances to date. Though the film's minimal cast members (listen for a familiar voice, that of "Apollo 13's" Ed Harris, as Mission Control, whose casting is probably intentional here) and the space venture plot may admittedly have limited appeal, Clooney, Bullock and Cuaron (the latter two of whom should earn an armload of accolades for this film) carry "Gravity" to new heights, engaging the audience from the first frame. Third, it's an astonishing, gripping action film with rarely a dull moment, particularly in its breathless final act. For those thinking this is another stale, dreamy science-fiction film or about people simply floating in space, think again. The efficient "Gravity" is a powerhouse film that will leave you both satisfied and exhausted; it's a stunning emotional and technological achievement. One of the best films of the year and my favorite film of 2013 thus far.

Wes's Grade: A