Oldboy - C

Rated R, 104 minutes

Lee's remake of "Oldboy" a bloody disappointment

Josh Brolin

There are just certain things you don't mess with, and the 2003 Park Chan-wook classic South Korean film "Oldboy" is one of them. Mysteriously weird and haunting, that version of "Oldboy" has achieved legendary status over the last 10 years, and it comes as no surprise that there would be an American remake. The new Spike Lee version is suitably downbeat and violent, and in spite of a few entertaining moments, it's a misfire. Joe Doucett (Josh Brolin), an advertising executive, is kidnapped and held prisoner for twenty years in solitary confinement. After he is suddenly released, he goes on a mission to find the person responsible for his imprisonment, later discovering that his life is still caught in conspiracy and torment. This unnecessary, unsatisfying 2013 remake of "Oldboy" is well-cast and sometimes pops with bloody energy, but overall Lee's version is a bit tame, exhausting to watch and in spite of a lot of small changes to the original film, doesn't improve upon anything. Brolin is a likably gruff but bland protagonist who lacks widespread appeal; even better is Sharlto Copley ("District 9") as a slimy millionaire pulling the strings in this sordid affair, while Samuel L. Jackson has fun as another lower level villain. "Oldboy" is what it is - an old fashioned revenge flick - but the twists and turns (especially in the last act) here lack the mystery of the original and underscore how ridiculous it all seems. There are a couple of torture scenes that are both excruciating and fun to watch, depending upon your level of tolerance for this type of thing; however, the fight scenes are where Lee clearly falters, those scenes are sloppily choreographed and seem a haphazard addition, only proving that Brolin, while demonstrating decent acting chops, is out of his league when it comes to martial arts. "Oldboy" has a few entertaining moments and overall it isn't terrible, but bottom line it was a mistake to remake a classic thriller. Skip this one and rent Chan-wook's much more satisfying film instead.

Wes's Grade: C

Nebraska - A-

Rated R, 110 minutes

Bruce Dern and Will Forte

"Nebraska" is Payne's melancholy look at old age, the midwest

Director Alexander Payne ("The Descendants") is back with a well-acted, pensive and quirky black and white character-driven piece "Nebraska" starring Bruce Dern as a cranky Missouri father who's convinced he's won a million dollar magazine sweepstakes, and Will Forte as his son who grudgingly agrees to drive him to Nebraska to claim his winnings. Payne's slice-of-life Americana is sometimes stark, darkly funny and often very poignant, appealing to sensibilities we probably didn't know we had. "Nebraska" features one of Dern's best performances as the old codger and alcoholic with a dream of a better life, and expect plenty of accolades to be thrown his way (he's already won Best Actor at Cannes). Also strong is "Saturday Night Live" vet Forte as his long-suffering son and especially character actress June Squibb as his loud-mouth, equally cranky wife, who steals every scene she's in, providing the film with some of its best lines. If Squibb (also seen briefly as Jack Nicholson's wife in Payne's similarly-themed "About Schmidt") is the most memorable, then Dern's portrayal is the more internalized, fully realized portrayal; it's a nice contrast to see the younger son in his right mind aimlessly drifting coupled with the off-kilter Dad who knows exactly what he wants. Speaking of which, Dern (who admittedly looks like hell here) nails the part perfectly, nicely shaded and underscored by Payne's strong script and the lovely black-and-white cinematography, shot on location in the midwest by Phedon Papamichael, who Payne has used before in "Sideways" and "The Descendants." The film meanders some and its outlook a bit depressing, but it's poignant, sad, funny and touching, expertly handled by Payne and his wonderful cast, particularly all the old folks he gets together in the family scenes. "Nebraska" isn't Payne's all-time best (that belongs to Clooney and "The Descendants"), but it's still a fine, layered film and one of the year's best. Expect plenty of awards for the film, including writing, direction, photography and acting.

Wes's Grade:  A-

Frozen - B-

Rated PG, 85 minutes

Olaf the snowman

Charmingly familiar "Frozen" will warm the heart

As Vanilla Ice would say, it's "ice ice, baby" which is exactly what the new Disney animated movie musical "Frozen" is about. Loosely based on the Hans Christian Andersen fairy tale "The Ice Queen," this charming, wistful version is a cross between "Tangled" and "Enchanted" with a little snow and music thrown in for good measure. The kingdom of Arendelle has two sister princesses, Elsa (Indina Menzel) and Anna (Kristen Bell). The older Elsa has the ability to create snow and ice but the power suppressed to keep from hurting her sister and others. When Elsa's magic is unleashed and the kingdom becomes under a permanent winter the fearlessly optimistic Anna, mountain man Kristoff (Jonathan Groff) and magical snowman Olaf (Josh Gad) must work together to make Arendelle a warm place again. Directed and co-written by Chris Buck ("Tarzan" and "Surf's Up"), the winning, cheerful "Frozen" is familiar but engaging enough for the whole family. "Frozen" is most memorable for it's slick, colorful CG animation and the peppy, original songs from husband-and-wife songwriting team of Robert Lopez and Kristen Anderson-Lopez. On that note, Tony-award winner Menzel (who also was part of "Enchanted") is the standout here, belting out the film's best tune, "Let It Go," that will certainly be nominated for an Oscar. Gad is also a hoot as the lovable snowman Olaf, who doesn't even realize he's a snowman. The creaky and predictable story has the film on thin ice narratively, especially mid-film, but it picks up steam in the final act for a heartugging ending. "Frozen" is cheerful, colorful and endearing, and will be best remembered for the music and not the story.

Wes's Grade: B-

Philomena - B+

Rated R, 95 minutes

Dench superb in the touching, bittersweet "Philomena"

Judi Dench and Steve Coogan

Oscar-winner Judi Dench, contrary to popular reports, isn't going blind nor quitting acting, and after her tender, sweet turn in the new film "Philomena," you'll be glad. Based on the 2009 investigative book by BBC correspondent Martin Sixsmith, "The Lost Child of Philomena Lee," the movie "Philomena" focuses on the efforts of Philomena Lee (Dench), with the help of Sixsmith (Steve Coogan), to find the son she was forcibly separated from in a convent in the 1950s. Directed by Stephen Frears ("The Queen") and co-written by Coogan, we love true, inspiring stories about stoic mums, and Dench nails this perfectly in a movie that could've easily been cheesily TV-movie sentimental. Instead, Dench finds the humanity in another Oscar-worthy turn, making Philomena perfectly imperfect and honest while still tugging at the heart strings. Coogan, known more for his strictly comedic roles, gives balance and humor to the film as he uncovers more of Philomena's story, and he and Dench share a warm, guarded chemistry evident throughout the film. "Philomena," much like the lead character, isn't perfect as it unevenly alternates between the sweet and the dark, but Dench and Coogan make for a solid pairing and rise above the script's flaws. Get the tissues out by the bittersweet ending, you'll need them, but most importantly, you'll remember Dench's memorable, funny performance that is already earning her accolades. Honest, warm and touching, put "Philomena" on your list to see this holiday season.

Wes's Grade: B+

Homefront - C-

Rated R, 95 minutes

James Franco

Forgettable, lazy thriller “Homefront” entertains with Franco as Gator 

The standard, by-the-numbers and lazy thriller “Homefront” is a joke of a movie, and it’s not even a comedy. Written and produced by Sylvester Stallone, which could be its main joke, the worst part is how predictable, dumb and manipulative it is, though you won’t be bored by much of the action. Jason Statham is a widowed, ex-DEA agent Phil Broker, who settles in small town Louisiana with his young daughter (Izabela Vidovic), but finds his quiet life turned upside down when his path crosses with a band of low level drug traffickers led by Gator (James Franco). Directed unmemorably by Gary Fleder (“The Express”),except for the high kicks provided by Statham, this is a largely forgettable effort, which features some of the dumbest criminals this side of Mayberry. We wouldn’t expect much from Statham, who generally makes these types of things with the “Transporter” films or “Deathrace,” so the real surprise here is finding a decent actor like Franco slumming it in a B-grade action film for a paycheck (he should’ve known this by his character’s name, Gator). In addition to Franco is an ultra-thin Kate Bosworth and scummy Winona Ryder, also playing bad folks, both of whom obviously needed to collect some sort of paycheck for this. The action and some of the bad dialogue (when Franco introduces himself as Gator, you can’t help but giggle) are actually fun at times, but you won’t be a bit surprised and when and how the bad guys meet their fate. Statham’s fan base may turn out for it, but you’ll like find on DVD and pay-per-view pretty quickly. Forgettable, easy and mindless entertainment, “Homefront” comes recommended only if you know what you’re getting into, which isn’t much.

Wes’s Grade: C-

Black Nativity - C+

Rated PG, 93 minutes

"Black Nativity" shines as long as Hudson's onscreen
 

Jennifer Hudson

"Black Nativity" is a loose, modern-day retelling of the Langston Hughes classic Christmas muscial from Kasi Lemmons, the director of such films as "Talk to Me" and "Eve's Bayou." Lemmons' interpretation is uneven and narratively weak, but the music is powerful and it benefits from a strong last act. After his mother, Naima (Jennifer Hudson), is evicted from their Baltimore apartment, teenage Langston (Jacob Latimore) is sent to spend the holidays with his estranged grandparents (Angela Bassett, Forest Whitaker) in New York City, where he learns the true meaning of faith, healing, and family. Directed and written by Lemmons and loosely based on the Hughes stage version, Lemmons version combines a few original songs, a contemporary story as well as the traditional "Black Nativity" retelling of the Christmas story, an ambitious, occasionally poignant but uneven interpretation. As a straight musical or a straight forward dramatic film, it would've worked better, though there are a couple of bright spots: anytime Hudson is onscreen, her booming, powerful voice looms over the rest of the cast and she is by far the most memorable voice. Lemmons' handling of the Christmas story as told by Hughes is well-staged but awkwardly integrated, with a small, memorable turn from R&B diva Mary J. Blige as the angel with a blond afro. The heart-tugging finale is very sentimental but features a satisfying message of forgiveness and hope that should please its target audience. Actors Bassett and Whitaker are well-placed, though it (in Whitaker's case fortunately) minimizes their singing voices and not their acting ability. "Black Nativity" is sentimental and without Hudson, unmemorable, though it will appeal to its target audience just fine.

Wes's Grade: C+

Kill Your Darlings - B

Rated R, 100 minutes

Daniel Radcliffe as Allen Ginsberg

Well-acted, beguiling tale of murder in "Kill Your Darlings"

The offbeat, copacetic "Kill Your Darlings" is part bio and part real-life murder tale that's weird enough to make you think it wasn't true. "Harry Potter" star Daniel Radcliffe stars as Beat Generation icon Allen Ginsberg set during the famed poet's early years at Columbia University, and centering on a murder investigation involving Ginsberg, his handsome classmate Lucien Carr (Dane De Haan), and fellow Beat authors and friends William Burroughs (Ben Foster) and Jack Kerouac (Jack Huston). Directed and co-written by John Krokidas in his feature film debut, it's an auspicious, very stylish start for Krokidas, as "Kill Your Darlings" is a low-key but enticing tale made better by its attractive leads, especially from Radcliffe and De Haan ("The Place Beyond the Pines"). Radcliffe continues to make intriguing post-"Harry Potter" film choices, and he makes for an affecting, young Ginsberg, who was clearly infatuated with Carr, a fellow student and early Beat Generation pioneer. Heavily stylized and likely enhancing the relationship the men had, "Kill Your Darlings" is offbeat, a little weird but rarely dull. De Haan continues to emerge as a sturdy character actor, and his portrait of the manipulative Carr, who knew his way with vocabulary and getting what he wanted, is memorably sublime. Though the dark subject matter isn't for everyone, the well-acted, affecting and often entertaining "Kill Your Darlings" is worth a look.

Wes's Grade: B

The Hunger Games: Catching Fire - B

Rated PG-13, 146 minutes

Jennifer Lawrence

Lawrence sizzles in ambitious but thrilling "Catching Fire"

"The Hunger Games: Catching Fire" is the long-awaited sequel to 2012's blockbuster "Hunger Games," a gripping thriller that's more enjoyable and ambitious than the first film and won't disappoint the legions of fans of the book series, as well as others (myself included) who come out only to see its lovely star, Jennifer Lawrence, in action. Overlong but entertaining, well-paced and stuffed with some nice cast additions, "Catching Fire" works chiefly because of Oscar-winning lead actress Lawrence, who dazzles as the lead heroine and ably carries the film on her shoulders. In this outing, Katniss Everdeen (Lawrence) and Peeta Mellark (Josh Hutcherson) return home after winning the 74th Annual Hunger Games, only to be taken back out on an uneasy "Victory Tour" that has Katniss noticing signs of rebellion. Meanwhile, President Snow (Donald Sutherland) plans the 75th Annual Hunger Games, essentially an all-star version featuring former champions, including Katniss and Peeta, that could ignite the flames of rebellion as they risk their lives once more. Directed by Francis Lawrence ("Water for Elephants") and co-written by Simon Beaufoy and Michael Arndt, the well-acted "The Hunger Games: Catching Fire" has more substance and intensity than the first installment with more to accomplish this time out; with that in mind the first act drags and its best parts come later on during the actual games. The visuals, sets and the costumes are first-rate and far more elaborate this time, particularly another impressive dress that Lawrence rocks mid-film, and the large supporting cast is nothing short of stellar, with Woody Harrelson, Liam Hemsworth, Sutherland, Stanley Tucci, Lenny Kravitz and Elizabeth Banks (as outrageous as ever as Effie) all reprising their roles, though it's the new cast additions who will generate more buzz. Sam Claflin, Jena Malone, Jeffrey Wright and Oscar-winner Philip Seymour Hoffman are the most memorable of these, adding more texture to the film and easily outpacing the blandish Hutcherson, whose Peeta seems a little lost this time out. "The Hunger Games: Catching Fire" is really a futuristic, deadly cross between "Survivor" and "Amazing Race," and on that note, it goes on too long and tries to accomplish too much, but it picks up considerable energy once the games get rolling and doesn't let go until the end. Best of all is still Lawrence, who is sensational as Katniss and deserving of every minute of screen time she gets, and while the ending leaves you hanging as to her fate, I'm certain this won't be the last you'll see of her. Fans will get the most out of it, but it should pick up lots of non-fans in the process.

Wes's Grade: B

The Armstrong Lie - B-

Rated R, 122 minutes

Fascinating "Armstrong Lie" doesn't provide anything new

Lance Armstrong

The compelling, tragic new documentary “The Armstrong  Lie” from filmmaker Alex Gibney details the rise and fall of super-athlete and renowned cyclist Lance Armstrong and how, over time,  he doped his way into a record seven Tour de France championships.  Absorbing yet overlong, it doesn’t provide any additional revelations from what we already knew, though it has its share of entertaining moments thanks to Armstrong’s volatile, often testy personality. Gibney initially began the documentary in 2009 following Armstrong’s comeback then stopped when Armstrong became the focus of the doping investigations that eventually led him to confess he had in fact, doped and took illegal substances during the time in which he cycled in all of his championship races. Gibney’s anger with his often defiant subject is evident throughout, finally calling him a liar and a cheat for deceiving so many, and while Gibney’s assertions may be true, he only skims the surface of Armstrong’s lies and deception, adding little to what the general public already knows. He replays the Oprah confession and speaks to many of Armstrong’s teammates and colleagues, including his doctor Michele Ferrer and Frankie and Betsy Andreu, whose revelations helped propel the investigation into the doping allegations, who only confirm Armstrong’s actions. The central problem is Gibney’s scattershot approach, skimming over many of Armstrong's wins and instead heavily focused on his 2009 comeback, unsurprising given that Gibney already had considerable footage of this. This makes the film unnecessarily longer than necessary, not to mention it doesn’t provide further updates on one crucial character, his doctor Ferrer, and relies upon old footage he had when he started the doc.  However, Gibney's major coup is scoring updated interviews with Armstrong, which highlight the film as we see angry, often testy Armstrong of yesterday compared to the now older, more reflective Armstrong, who wanted to win at all costs and is now paying the price for those actions. Armstrong it seems is living the American dream and a tragedy at the same time.

Wes's Grade: B-

Delivery Man - B

Rated PG-13, 105 minutes

Cobie Smulders and Vince Vaughn

It's nothing new, but charming "Delivery Man" will win you over

The most unfortunate thing about "Delivery Man" is that it's released on the same day as the new "Hunger Games" movie, which will dominate the weekend in every way. For those who could care less about what Katniss Everden catches, you'll want to catch the affable, winning new comedy "Delivery Man" which provides Vince Vaughn with his best comedy in years. David Wozniak (Vaughn) learns that as a sperm donor with the alias "Starbuck", he has fathered 533 children. When a large group of them petition the sperm bank to reveal his identity, David has to decide whether or not to come forward. Simultaneously, his pregnant girlfriend (Cobie Smulders) is deciding whether he would make a suitable father. Directed and co-written by Ken Scott, "Delivery Man" is a remake (nearly shot for shot) of Scott's enjoyable 2011 French-Canadian film "Starbuck," its pleasantries lie chiefly with its likable cast rather than its overly sentimental, predictable story. Like many, I've grown very annoyed with Vaughn's excessive talkiness of late, but Scott dials down Vaughn's usual blathering to focus on character and "Delivery Man" is actually his most mannered, charming performance in years, and he carries the film nicely. "How I Met Your Mother's" Smulders is lovely but given little to do, though Chris Pratt of "Parks and Recreation" is a genuinely funny addition as Wozniak's inexperienced lawyer. Have the tissues handy by the time it gets to its touching finale and whether or not all of these sperm babies get to meet their real dad. "Delivery Man" is worth your time and one of 2013's better comedies, if you can wade through all the "Hunger Games" hoopla at the multiplexes this weekend.

Wes's Grade: B

The Book Thief - B

Rated PG-13, 125 minutes

Well-acted "Book Thief" is moving in spite of familiar themes

Sophie Nelisse, Emily Watson and Geoffrey Rush

"The Book Thief" is the affecting new World War II drama set in Nazi Germany that will steal your heart in spite of some familiar themes. Based on Markus Zusak's best-selling 2005 novel of the same name, it's the story of young Liesel Meminger (Sophie Nélisse). After she finds her first book beside her brother's graveside, she is sent to foster parents Hans (Geoffrey Rush) and Rosa (Emily Watson). While in the comfort of her new found parents, World War II breaks out and Rosa and Hans shelter a Jewish refugee named Max (Ben Schnetzer). Directed by "Downton Abbey" director Brian Percival and written by Michael Petroni, it's a faithful adaptation of Zusak's book, with enough poignant moments to make it emotionally satisfying. With a young ingenue at the center who keeps a diary in Nazi Germany, it's certain to evoke memories of "The Diary of Anne Frank," though the story itself is completely different. "The Book Thief" will be most remembered for two things: the strong performances and its tragic ending (take plenty of tissues). Canadian teen actress Nelisse ("Monsieur Lazar") anchors the film well in a touching, believable turn as the young girl who escapes reality with the help of many books, while Watson and Rush are perfectly cast as her slightly older foster parents who love each other in spite of their harsh circumstances. It's a little plodding, particularly in its middle act and it goes on a little too long, but its themes of love, family and acceptance (not to mention Death, who serves as the film's narrator) should resonate to those who enjoy a good drama and a good cry. Definitely worth a look.

Wes's Grade: B

The Best Man Holiday - B-

Rated R, 123 minutes

Sanaa Lathan and Taye Diggs

Soapy, entertaining "The Best Man Holiday" is familiar fun

The new comedy "The Best Man Holiday" is part soap opera, part holiday movie and all mostly enjoyable, if not overly familiar, fun. This is also a sequel to the 1999 romantic comedy "The Best Man" and if you enjoyed that film, you should enjoy this one too. When college friends (Taye Diggs, Sanaa Lathan, Terrence Howard, Morris Chestnut, Harold Perrineau, Regina Hall, Melissa De Sousa, Nia Long and Monica Calhoun) reunite after 15 years over the Christmas holidays, they will discover just how easy it is for long-forgotten rivalries and romances to be ignited. Directed and written by Malcolm D. Lee, who wrote and directed the original film, "The Best Man Holiday" is a sentimental, mildly entertaining soap opera as well as a revisionist look at what happens after you leave college. Overlong and lacking the cleverness of Lee's charming 1999 film, it's held together by the talented, engaging cast including the still-handsome Diggs and Chestnut and the always-lovely Lathan and Long, though the pot-smoking Howard has the most fun, stealing every scene he's in. It also has a little something for everyone, throwing in pregnancy, sex and tragic illness to remind us to stay close to our loved ones this holiday season. "The Best Man Holiday" is nothing new yet is enjoyable, predictable entertainment that will have you reaching for tissues by the time it reaches its sentimental finale. Even better is the movie's soundtrack features some classic holiday tunes by such R&B artists as Monica, Mary J. Blige and John Legend.

Wes's Grade: B-

Dallas Buyers Club - B

Rated R, 117 minutes

Brave performances highlight the inspiring "Dallas Buyers Club"

Matthew McConaughey as Ron Woodruff

The new film "Dallas Buyers Club" is not an easy film to watch, but it's an inspiring look at the AIDS crisis of the 1980s and the absorbing, moving performances will stay with you much more than its generic script. Ron Woodruff (Matthew McConaughey) is a straight Dallas, Texas electrician by day, and rodeo party boy by night, and also a heavy drug user.  He contracts HIV and is given only 30 days to live. When heavy doses of AZT don't work, with the help of his doctor (Jennifer Garner) and a fellow HIV patient, a transgender man named Rayon (Jared Leto), he forms the Dallas Buyers Club and begins buying and selling unapproved FDA drugs in exchange for monthly memberships. Directed by Jean-Marc Vallee and written by Craig Borten and Melisa Wallack and based in part on a lengthy Dallas Morning News Article about Woodruff, "Dallas Buyers Club" is most memorable for the mesmerizing, very brave turns by McConaughey and Leto, both strikingly emaciated and charming at the same time and under their guise, HIV has never been more entertaining. Both should and will be remembered come Oscar time, and it's a testament to their talent that the acting is better than the movie itself as both actors hold the screen and will hold your interest, even when the script doesn't. The downbeat story is a challenge to present, altering many characters and facts (Garner and Leto's characters are among the many composite characters here), and as shocking as some of the homophobic slurs still are, they otherwise don't truly present anything new. The primary point is to show how Woodruff overcame his own fears to work with others in fighting the disease, and on that note, it's an honorable one. "Dallas Buyers Club" is a flawed film (it wasn't even filmed in Dallas), but it takes on risks of a provocative subject matter, and for that reason it comes recommended, both satisfying and enormously entertaining.

Wes's Grade: B

Thor: The Dark World - B

Rated PG-13, 111 minutes

Entertaining "Thor: The Dark World" busy but rarely dull

Chris Hemsworth and Natalie Portman

"Thor: The Dark World" is the sequel to the 2011 hit "Thor" and continues the adventures of the Marvel/Stan Lee character also featured in last year's "The Avengers." Entertaining, slick and busily filled with CG special effects, it has a new director and a new video game tone that should make it a big hit even if you're not a comic book enthusiast. In this outing, Thor (Chris Hemsworth) battles some evil Dark Elves led by Malekith (Christopher Eccleston) who have been awakened more powerful after being banished into the depths of space by Thor's grandfather and who are threatening to plunge the universe into darkness. Scientist Jane Foster (Natalie Portman) has been thrust in the middle of the action once again and may hold the key to Thor's survival, which is now dependent on working with his adoptive brother and chief nemesis, Loki (Tom Hiddleston). "Thor: The Dark World" is a fast-paced superhero action film that often sacrifices character and plotting for loads of special effects, but you won't find yourself bored, even if it's not as good as the first "Thor" installment. This may be due to the fact that TV director Alan Taylor takes over the directing duties this time from Kenneth Branagh, who helmed the first film with aplomb. Still, moves along well and doesn't disappoint with some well-placed energy, but the story and romance are weaker and suffers from the excessive, albeit sublime visuals which fill the film from start to finish. Hiddleston, who is the most interesting superhero villain to come along in some time, is given less to do here but is still the most memorable of the large cast, many of whom, including Anthony Hopkins, Rene Russo, Kat Dennings and Stellan Skarsgard, reprise their roles from the first film."2 Broke Girls" Dennings in particular gives this some much needed comic energy that saves it from taking itself a little too seriously while Hemsworth earnestly broods just fine as the titular character, hopefully pleasing fan boys and non-Marvel fans alike. "Thor: The Dark World" plays like "Thor: The Video Game" peppered with a little bit of "Star Trek" and it's not as dark as it could've been, but enjoyable nonetheless. Watch for an amusing cameo from Captain America mid-movie and don't forget to stay for a couple of additional post-credits scenes which may add insight to the next "Thor" installment.

Wes's Grade: B

Free Birds - C

Rated PG, 91 minutes

Unoriginal "Free Birds" pleasantly flies with energy

Owen Wilson and Amy Poehler

The fun but unoriginal new animated movie "Free Birds" is hardly anything new, but it moves along so pleasantly and is so charmingly voiced you can overlook its flaws. After being pardoned by the President of the United States, Reggie the Turkey (Owen Wilson) lives a comfortable life at Camp David enjoying pizza and telenovelas. On the other hand, athletic Jake (Woody Harrelson) is the president and the only member of Turkeys Liberation Front. Jake kidnaps Reggie and they travel back in time to the first Thanksgiving to prevent turkeys from becoming the traditional holiday meal. Directed and co-written by Jimmy Hayward of "Horton Hears a Who," "Free Birds" is as happy, predictable and enjoyable as a Thanksgiving meal: you've seen it before many times and is mildly satisfying but unmemorable. Wilson, along with Harrelson and Amy Poehler, all provide humorous voicing as turkeys, while the most inspired voice belongs to "Star Trek's" George Takei, as Steve, the time-traveling egg. The plot is as thin as giblet gravy and seemingly borrowed from many other movies, including "Star Trek," "Back to the Future" and in the finale, even "Braveheart" and peppered with some moments of adult humor that will fly over the heads of the kids. Still, the younger set shouldn't mind, and it flies along energetically and colorfully, with enough laughs to keep them engaged for a moment or two. "Free Birds" isn't on the level of Pixar though you may think twice about what you eat for Thanksgiving dinner this year.

Wes's Grade: C

Ender's Game - B

Rated PG-13, 114 minutes

Ambitious, slick "Ender's Game" is best when it entertains

Harrison Ford

"Ender's Game" is the long-awaited film version of the Orson Scott Card science fiction novel and it doesn't disappoint. Part heady science film and part action film, it succeeds more as the latter than the former. Well-acted, energetically paced and filled with some memorable visuals, it's one of the better science fiction efforts as of late. After an alien race called the Buggers attacks Earth in 2086, the International Fleet led by Colonel Graff (Harrison Ford) prepare for the next invasion by training the best young children to find another war hero to save the planet. Ender Wiggin (Asa Butterfield), a shy but strategically brilliant boy, is prepped by Graff to be the Earth's next great hope. Directed and written by Gavin Hood ("X Men Origins: Wolverine") and based on Card's 1985 novel of the same name along with a novel series, it's inspired, even gripping sci-fi entertainment, though it stumbles a little in trying to accomplish too much. The memorable, exciting visuals and a great cast, headlined by Ford and including Hailee Steinfeld, Viola Davis, Abigail Breslin and Oscar-winner Ben Kingsley as a facially tattooed war hero, though it's "Hugo's" young Butterfield (resembling a young Elijah Wood) who carries the weight of the film as Ender and a lot of heady emotion under those blue eyes of his in a star-making role. "Ender's Game" falters under a load of different themes, including military strategy, mental capabilities, violence (both simulated and real) and genocide, and many of those themes may be too heavy for a young audience. It's best to sit back and enjoy the film's throbbing score, action and a load of colorful CG special effects, particularly in the film's rousing, climactic battle scene. "Ender's Game" ends but truly doesn't end, leaving it open for more of these, and given the source material, there likely will be. "Ender's Game" is brisk, often thrilling entertainment as long as it keeps its head in the game.

Wes's Grade: B

Last Vegas - C

Rated PG-13, 105 minutes

Charming, predictable comedy “Last Vegas” doesn’t surprise

Morgan Freeman, Michael Douglas, Robert De Niro and Kevin Kline

The effusive new buddy-buddy comedy “Last Vegas” has some of the best actors in film and they do their best to make the thinly calculated but fun movie work above its lackluster script and direction. Michael Douglas, Robert De Niro, Morgan Freeman and Kevin Kline star as four senior citizens who have known each other for 60 years, who go to Las Vegas for a bachelor party to celebrate the marriage of Douglas’s character to a much younger woman (maybe this is a case of art imitating life), though they quickly find that Vegas is often better suited to those much younger. The crowd-pleasing “Last Vegas” mines the whole older-fish-out-of-water routine that has been done so much over the years, which is its primary problem: it’s nothing new and you know exactly where its going. If it weren’t for all of its Oscar-winning actors, all on screen for the first time together, this would be completely forgettable. Also starring lovely Oscar-winning actress Mary Steenburgen along with TV actors Romany Malco (“Weeds”) and Jerry Ferrara (“Entourage”), it’s a flimsy excuse to get these guys together onscreen, though admittedly fun at times, with Freeman and a miscast Kline (he is too young for this) seemingly having the most fun, though one humorous exchange occurs when the men judge a bikini contest with unexpected results. Unmemorably directed by Jon Turtletaub (“National Treasure”) and written by Dan Fogelman (“The Guilt Trip”), it’s a little on the TV sitcomy side, given how neat and pat everything is resolved by the end, especially after the big bachelor party, which is actually an anti-climactic letdown of sorts. Mildly entertaining in a tame way and beneath the talents of all involved (particularly De Niro and Douglas) , “Last Vegas” will be forgotten much sooner than any of their long acting careers.

Wes's Grade: C

About Time - B

Rated R, 123 minutes

Wistful, sentimental "About Time" breaks its own rules

Rachel McAdams and Domhnall Gleeson

From the maker of "Love Actually" comes the mawkish but charming new romantic comedy "About Time" that blends both time travel and love. Ingratiating and unconventional, it can both confuse and tug at the heart strings, with winning performances from the leads.
At the age of 21, Tim Lake (Domhnall Gleeson) discovers he can travel in time from his father (Bill Nighy) who tells his son that the men in his family have always had the ability to travel through time, though he can only change certain events in his own life. When Tim finally meets the beautiful but insecure Mary (Rachel McAdams) he realizes how difficult that can be. Directed and written by Richard Curtis of "Love Actually" fame, it's one of the better time travel-love stories (McAdams' own "The Time Travelers Wife" failed at this) and certainly one of the year's more memorable romantic comedies that succeeds mostly because of a charming cast. It features a stellar breakout performance from the lanky Gleeson, son of actor Brendan Gleeson and best known as Bill Weasley from the final two "Harry Potter" films, whose awkward, even geeky sensibilities ground the film well. He and McAdams share a sweet chemistry too, though his screen time with Nighy is more affecting, particularly in their final, heartbreaking father-son exchanges. Problematic, unsurprisingly, is the time traveling angle, always a tricky paradox for any filmmaker to handle, but especially complex when it involves romance, but still filled with some fun moments, particularly when Tim humorously uses it to his advantage (sex being one of them). Curtis is careful to establish the ground rules but then breaks them too easily for an unnecessary, sentimental moment, leaving some plot holes and confusion as Tim jumps back and forth, underscoring how both relationships and time travel can be complicated. It goes on a tad too long and the last act in particular is too pensive for a love story (i.e. take plenty of tissues), but Curtis along with Gleeson, and the always lovely McAdams make "About Time" one of the most unusual but winning romantic comedies of late. You'll also want the film's soundtrack, filled with some nice alt folk tunes.

Wes's Grade: B

All is Lost - B+

Rated PG-13, 107 minutes

Redford at his best in the unconventional drama "All is Lost"

Robert Redford

The minimalist, well-acted new drama “All is Lost” stars Robert Redford as an unnamed, contemporary sailor who becomes lost at sea after his sailboat is severely damaged and becomes engaged in a battle of survival against the elements.  Directed and written by J.C. Chandor in only his second feature film, following 2011’s “Margin Call,” “All is Lost” is one of the year’s most unique films:  simplistic yet focused but smart, tense and well-executed by Chandor and his sole castmate, Redford, in one of his most unconventional roles to date. Considering there is minimal dialogue and Redford is the only one on screen at all times, the veteran actor keeps you engaged in a strong turn that exceeds the limited scope of the film. In a rather ironic twist, the actor best known for his looks from such classics as “All the President’s Men” and “Out of Africa” appears weathered and even beat, and the film heavily relies on that look to make a stark point: that the sea, as beautiful as it appears at times, can also be your worst enemy. As well, as Redford is bruised and tossed to and fro in some of the more tense moments of the film, it also gives you the notion that even experienced sailors will eventually give out after a certain period of time, though the ending may give some hope. The extended period of dialogue-free silences (which is about 98% of the film) which have Redford at his finest, isn’t for everyone and thus some may be bored by the unique but satisfying and affecting experiment known as “All is Lost.” Given that Tom Hanks did something similar in 2000’s “Cast Away,” this isn’t really completely new, and on paper doesn’t seem like much, but Redford and Chandor’s “All is Lost” is worthy of your time.

Wes's Grade: B+