Cesar Chavez - C

Michael Pena as Cesar Chavez

Rated PG-13, 101 minutes

With a worthy, well-acted story, "Cesar Chavez" still fails to connect

You'd be hard pressed to find a more worthy film subject than Mexican-American civil right leader Cesar Chavez, who championed the cause of the migrant worker in California. However, he is deserving of a better effort than the new drama "Cesar Chavez," a well-acted but scattered and unsatisfying tale that barely scratches the surface of Chavez's many accomplishments. The film follows Chávez's (Michael Pena) efforts to organize 50,000 farm workers in California, many of them temporary workers from Mexico  With poor working conditions for the workers, who also suffer from racism and brutality at the hands of the employers and local Californians, Chavez forms a union for the workers to get better wages, at the risk of his own life and health. Directed by actor Diego Luna ("The Terminal") in his English-feature directing debut, "Cesar Chavez" is an uneven, somewhat incoherent look at Chavez's struggles to organize a more perfect union for the migrant workers in California. It goes in too many directions, a little here on family, a little here on the unions, a little on his personal life, though it's not revelatory into any new details into Chavez's life. Pena is an affecting Chavez and he gives a strong performance amongst a talented cast that includes America Ferrera, Rosario Dawson and John Malkovich as one of the evil winery owners. "Chavez" is most successful when it's focused in the area of the organization of the unions, though it falters under the flat direction of an inexperienced director such as Luna. "Chavez" has a handful of inspiring moments thanks to Pena's believable performance, but in the end it comes up unsatisfying, lacking power and relevance that could've been better served by a tighter script and a more focused direction. The story of "Cesar Chavez" is a worthy one, but it needs a better film effort than this.

Wes's Grade: C

Sabotage - D

Rated R, 109 minutes

Arnold Schwarzenegger

Someone "Sabotage"-d this tiresome, unoriginal action flick

What a bloody waste. That's what the familiar new Arnold Schwarzenegger action movie "Sabotage" is. A waste of time, talent and resources with a half-decent story that's lost amidst the gratuitous violence and bullets. Schwarzenegger leads an elite DEA task force that takes on the world's deadliest drug cartels. When the team successfully executes a high-stakes raid on a cartel safe house, they think their work is done - until, one-by-one, the team members mysteriously start to be eliminated. As the body count rises, everyone is a suspect. Directed and co-written by David Ayer, the unoriginal "Sabotage" has a great cast and an interesting story that's completely undermined by so much violence, it throws the film off the rails completely early on. As Schwarzenegger's DEA team, it's filled with a gallery of intriguing actors completely wasted in this mess: Josh Holloway, Sam Worthington, Joe Manganiello, Terrence Howard, Mireille Enos, all given barely a line or two, not to mention the woefully miscast (though otherwise fine actress) Brit Olivia Williams, trying to exude a Tilda Swinton-vibe that comes off laughable underneath a ridiculous Southern accent that's as sporadic as the film's plot. Arnold has his way of getting the bad guys, and he does here too, which shouldn't be a big surprise, though expect considerable (and largely unnecessary) bloodshed along the way. Ayer has done this type of thing much better (like "End of Watch"), and by amping up the body count here, "Sabotage" undermines itself from being a half-decent film. This won't stop Arnold's fan base from coming out, who could make "Sabotage" a hit (though much of what he's done lately has flopped) but much like Arnold himself, this grows old and tired very quickly. Stay away.

Wes's Grade: D

Noah - B

Russell Crowe as Noah

Rated PG-13, 132 minutes

"Noah" is intriguing, entertaining interpretation

The epic new film "Noah" from acclaimed director Darren Aronofsky ("Black Swan") isn't a faithful, literal interpretation of the Biblical story of Noah's ark, but what a sublime, creative interpretation it is, bound to cause plenty of controversy amongst the Evangelical Christian set. Vastly entertaining, highly watchable though flawed and uneven in places, most of it works remarkably well. In a world ravaged by human sin, Noah (Russell Crowe) and his family (Jennifer Connelly, Logan Lerman and others) and  is given a divine mission: to build an Ark to save creation from the coming flood. Directed and co-written by Aronofsky, the visually enticing, affecting and well-acted "Noah" may be a divisive film with some, but the basic themes of sin, the fall of man and God's mercy ring true. Of course, some (Biblical scholars) may not appreciate some of the liberties that Aronofsky takes with the story, altering some details of the story, not to mention some egregious interpretations (namely with that of the crusty angelic beings The Watchers, which gives it a "Lord of the Rings" feel yet is one of the few things that doesn't work). Still, Crowe is perfectly cast as Noah, and the sublime visuals add some entertainment value, particularly with all the animals, the built-to-scale Ark and the tense, impressive flood scene, which seems much more expansive and epic here than in previous versions. "Noah" isn't perfect; much of Aronofsky's creativity pays off and the expensive film works much better than you might think, though it's a little muddled in its initial chapters and some may be disappointed that the flood, which takes center stage in the trailers, doesn't come until mid-film. "Noah" takes better shape later on, and the themes of mercy, family and forgiveness are relevant. Whether or not you're a believer, you will appreciate this intriguing, highly entertaining version of "Noah," just see it for yourself before you criticize it.

Wes's Grade: B

Stranger by the Lake - C

Unrated, 97 minutes
In French with English subtitles

French psychological thriller "Stranger by the Lake" fails to shock

Pierre Deladonchamps

The new erotic French thriller "Stranger by the Lake" has a unique premise as it strives to be an unconventional erotic murder mystery. It can work well ("Basic Instinct") but usually does not (nearly anything with Madonna), and put the gratuitous, unsatisfying "Stranger by the Lake" in the "Not" category. Frank (Pierre Deladonchamps) spends his summer days crusing for companionship at a popular cruising spot on the shores of a rural French lake. He meets and falls in love with Michel (Christophe Paou), an attractive yet darkly mysterious man. Frank and Michel become the primary suspects in a murder by the lake but they choose to ignore the dangers and instead choose to continue their passionate relationship. Directed and written by Alain Guiraudie, the erotic drama the mediocre "Stranger by the Lake" pushes the buttons alright, but generally the wrong ones. As with many films that fall into this category, it has a striking premise that's undermined by so much gratuitous nudity and sex (in this case full male nudity, and alot of it) that it should be categorized as gay porn than a mainstream French film. What's worse, it really doesn't add to the plot or storyline and director Guidraudie seems more concerned with the shock value than with subtlety, which is unfortunate since the handsome Deladonchamps is a fine actor wasted in this mess of a movie. Some intensity in the last act still doesn't add up to much, and Guiraudie seems to think it's fine that the characters choose love over morality itself. "Stranger by the Lake" had some potential with an unconventional story, but once the pants come off, it falls short. Not worth your time.

Wes's Grade: C

Omar - B

Unrated, 98 minutes
In Arabic with English subtitles

"Omar" is a gripping, tense Palestinian thriller about love and betrayal

Adam Bakri as Omar

Familiar yet engrossing, the new Palestinian drama "Omar" touches on themes we all know about: family, friends, ideals that are all important to us and things we must often choose to accept or give up. Omar (Adam Bakri) is a Palestinian baker who routinely climbs over the separation wall to meet up with his girl Nadja (Leem Lubany). By night, he's also a freedom fighter with his childhood friends Tarek (Eyad Hourani) and Amjad (Samer Bisharat). Arrested after the killing of an Israeli soldier and tricked into an admission of guilt by association, he agrees to work as an informant. Omar must choose - either be faithful to the cause - or lose everything by betraying. Directed and co-written by Hany Abu-Assad ("Paradise Now"), "Omar" is a captivating, often poignant example of how the Middle East conflict is so distant but is filled with themes we in the West can relate to as well. Nominated for the Best Foreign Film Oscar at this year's Academy Awards, it's also superbly acted by newcomer Bakri in the lead, and his warm chemistry with Nadja is among the film's highlights. Part thriller and part love story, it's really nothing new with other recent films ("Bethlehem") touching on similar themes, though the added love story helps add a little emotion to "Omar's" story. It's also peppered with blood and violence, and that may keep some away from the captivating, touching "Omar," which is one of 2013 best imports.

Wes's Grade: B

Divergent - C+

Rated PG-13, 143 minutes

Intriguing premise in "Divergent" watered down under its predictability

Shailene Woodley and Theo James

For a movie about non-conformity, the entertainingly bland Young Adult sci-fi "Divergent" tries too hard to fit in. With an intriguing premise, some nice visuals and an attractive cast (including the lovely but underused Kate Winslet in a smallish role), it's ultimately disappointing under a dull, overlong plot. Set in a futuristic world where people are divided into distinct factions based on human virtues. Tris Prior (Shailene Woodley) is warned she is Divergent and will never fit into any one group. When she discovers a conspiracy by a faction leader (Winslet) to destroy all Divergents, Tris must learn to trust in the mysterious Four (Theo James) and together they must find out what makes being Divergent so dangerous before it's too late. Directed by Neil Burger ("Limitless") and based on the set of popular YA novels by Veronica Roth, "Divergent" has some bland appeal and some enjoyable moments, though ironically, its message of non-conformity is lost in desperately trying to find mass appeal of that same audience. Better than "Twilight" in depth but lacking the intensity of "The Hunger Games," it should still be a big hit with both teens and their parents. Woodley, in a star-making role if there ever was one, nearly single-handedly carries the movie on her back as the girl with a secret, though she lacks chemistry with newcomer James, miscast here as her colleague and love interest; his rote, monotone line readings drag the film down in true Robert Pattinson-Taylor Lautner fashion (in other words, he can't act). The premise from Roth's novels is intriguing and the some of the visuals are first-rate, but it never quite takes shape and seem watered down, and may disappoint fans of Roth's (who is only 25 herself) novels. The bland, unsatisfying "Divergent" has been obviously designed as the next tentpole film once the "The Hunger Games" runs its course, and on that note it will likely be a big hit (it certainly didn't stop the much-worse "Twilight" series). Flat and middling at best, there are better options than this. Drop the kids off and go see "The Grand Budapest Hotel" again.

Wes's Grade: C+

Bad Words - B

Rated R, 88 minutes

Darkly amusing, irreverent "Bad Words" is dirty but charming

Jason Bateman

The facetiously delightful new dark comedy "Bad Words" is the sublime directorial feature debut for Jason Bateman ("Horrible Bosses"). Part revenge flick, part satire and loads of profane fun until it reaches its quaggy final act, "Bad Words" is a strong Rated R because it has plenty of them. Guy Trilby (Bateman), a 40-year-old high school dropout gets his revenge by finding a loophole and attempting to win a spelling bee as an adult. Along the way, he befriends a female reporter (Kathryn Hahn) and a young Indian contestant (the wonderful Rohan Chand from "Homeland") who he exposes to the wilder side of life. Irreverent, implausible but chock full of entertaining moments, "Bad Words" is its best when it lets loose and doesn't care what you think, which happens often in the first part of the movie. Bateman (who also co-produced) should be commended for his impressive direction, and even better, choice of a serviceable script by Andrew Dodge and a talented cast that is rounded out by Ben Falcone, Philip Baker Hall and always hilarious Allison Janney, underused here but making the most of an underwritten role. The dark bite of the first two acts seems lost in the softer final act with an ending that seems out-of-place and rewritten to appeal to a wider audience, not to mention anti-climactic given Guy's unique backstory. Still, there are some well-placed, laugh-out-loud moments in "Bad Words" with obvious design to shock that should please those who enjoy the low brow. With a decent script, a charming cast and some enjoyably dirty moments, "Bad Words" is both piquant and convivial, and one of the year's most inimitable new comedies. Worth a look, but leave your spell checker (and your kids) at home.

Wes's Grade: B

Muppets Most Wanted - B-

Rated PG, 113 minutes

Cheerful, silly "Muppets Most Wanted" follows the Muppets overseas

Miss Piggy

It's time to get things started again with the Muppets gang sequel on the heels of the hit 2012 Disney revitalization "The Muppets." The peppy, silly "Muppets Most Wanted" is not the Muppets at their most sensational or inspirational, and while not as good as the 2012 film, it has some genuinely amusing, witty moments. This outing takes the entire Muppets gang on a European tour but mayhem follows them overseas, as they find themselves unwittingly entangled in an international crime caper headed by Constantine—the World’s Number One Criminal and a dead ringer for Kermit—and his dastardly sidekick Dominic "Number Two" Badguy (Ricky Gervais). Directed by James Bobin and co-written by Bobin and Nicholas Stoller, who helmed and co-wrote the 2012 film, this one is as energetic and silly as ever, though it's occasionally too busy and stuffed with too much onscreen for kids to grasp at one time. Interestingly, it also covers similar ground as the Muppets 1981 film, "The Great Muppet Caper" though this film is filled with livelier humans and some nice, but unnecessary, musical numbers that seem to drag it out a little. All the gang is back in fine form, including Kermit, Miss Piggy, Fozzie, Gonzo, Beaker and Animal, though the humans have fun too. Gervais, Tina Fey and "Modern Family's" Ty Burrell are all a hoot (but no Jason Segel or Amy Adams!), not to mention loads of star-studded cameos of mostly musical stars, ranging from Gaga to Diddy to Celine Dion, as well as Oscar-winner Christoph Waltz doing the waltz and Salma Hayek running with the (Muppet) bulls. It's all amusing (it's especially cute seeing Muppets with legs) in what is essentially a Good Kermit vs. Bad Kermit story yet "Most Wanted" goes on too long for something geared toward the kiddoes, and they might lose interest in the saggy mid-section until it picks up for a funny, well-staged climax. "Muppets Most Wanted" is enjoyable fun and a solid, clean family film, though still not the best Muppets film, which in my opinion is "Muppets Take Manhattan." It also reveals what we've known for years. Give Animal his own movie. Now that would be both sensational and inspirational.

Wes's Grade: B-

The Art of the Steal - C

Rated R, 90 minutes

Dark crime comedy "The Art of the Steal" charming but cliched

Kurt Russell

I'd be a rich man if I could actually name all the crime films about an aged criminal going back in for "one last job." That overused cliche is the premise of the new Canadian heist dramedy "The Art of the Steal." It's dark and peppered with some charming moments yet is so calculated you begin looking around for the obligatory DeNiro or Pacino cameo (fortunately, that doesn't happen). Crunch Calhoun (Kurt Russell), a third rate semi-reformed art thief and motorcycle daredevil, agrees to get back into the con game with his untrustworthy half-brother, Nicky (Matt Dillon), though he doesn't realize how dangerous the game has become. Directed by Canadian filmmaker Jonathan Sobol, "The Art of the Steal" is a serviceable dark crime comedy burdened by its own cliches of grouchy criminals unable to give up their life of crime. It's not terrible, but terribly predictable; the highlight is the amusing chemistry between Russell and Dillon as well as the deadpan delivery of comic actor Jay Baruchel, who regularly steals scenes from the veteran leads as Crunch's apprentice (his Amish costume is hilarious). Veteran British actor Terence Stamp ("Valkyrie") also pops in for a few brief scenes doing his best Sean Connery impression as yet another aged criminal, but even a stellar actor such as he can't overcome Sobol's unoriginal script and direction, not to mention a lackluster, unsatisfying finale. Some of it's entertaining and filled with a few laughs (thanks to Baruchel), but dark comedic crime films like this have become a dime a dozen, and the forgettable "The Art of the Steal" manages only to take your time.

Wes's Grade: C

The Single Mom's Club - D

Rated PG-13, 111 minutes

Nia Long, Wendi McLendon-Covey, Zulay Henao, Cocoa Brown

Perry churns out another mediocre, derivative movie in "Single Mom's Club"

Single men (myself included) take note: though the dreadfully boring, contrived new Tyler Perry comedy "The Single Mom's Club" is about and geared for single women, you're better off meeting someone at the gym or grocery store. After an incident at their children's school, single mothers (Nia Long, Wendi McLendon-Covey, Zulay Henao, Cocoa Brown) from different walks of life bond and create a support group to discuss their problems and how they can make them better. Directed, written and produced by Perry, the pleasant but scattered "The Single Mom's Club" is his typically bland, mediocre stuff filled with simplistic messages, and while it's more appealing and mainstream than Madea, it still doesn't provide much in the way smart filmmaking (Perry is still very lazy even with basic scene set-up). Featuring a talented, lovely cast of actresses (and also Perry himself, who appears this time thankfully sans Madea garb) and peppered with a few fun moments, simplistic messages (kids - don't smoke, it's bad!) for this type of audience, in typical Perry fashion its unrealistic plotting, broad humor and cardboard characters don't add up to much except for some scattershot laughs. The whole "women good, men bad" theme prevails here, except if your name is Tyler Perry, who once again casts himself as the savior for the down and out woman in the film's most sexist angle. All the actresses, especially Covey (a wonderful comedienne who doesn't belong here) and Long, deserve better than this, though "For Better or Worse" actress Brown walks with most of the best lines and most heartfelt story of the women. Predictable with little genuine insight into the issues presented here, "The Single Mom's Club"  is another mediocre, unoriginal effort from the Perry movie factory.

Wes's Grade: D

Need for Speed - C+

Rated PG-13, 130 minutes

Familiar but fast-paced "Need for Speed" doesn't lack in thrills

Aaron Paul and Dominic Cooper

Honestly, movies based on video games runs into tenuous filmmaking even with big name movie stars (The Rock in "Doom" and Mark Wahlberg in "Max Payne") but every so often one comes along that sticks, and the racing thriller "Need for Speed," based on the Electronic Arts (EA) game of the same name is one of those that works. With stock characters and predictable plotting that treads familiar territory, the overlong "Need for Speed" is also thrilling and fun, with its action sequences the clear highlight of the film. After being released from prison for a crime that he didn't commit, street racer Tobey Marshall (Aaron Paul) is set to race cross-country in a highly secretive car race to avenge the death of a close pal. Directed by Scott Waugh ("Act of Valor"), "Need for Speed" is slick, fast-paced and often ridiculous, mindless fun that will fly by quickly. It's too long for its own good and tries too hard to please with its memorable "Fast and Furious"-style antics but also nice that it doesn't rely heavily on CGI, allowing the sweet cars to speak for themselves (the Shelby Mustang featured prominently in most of the film is my favorite). As well, it's good to see "Breaking Bad's" Emmy-winner Paul get his own movie, and while he's an unusual choice for something mainsteam like this, he grounds the film with a little offbeat humor, making for a nice couple with charming breakout star Imogen Poots ("That Awkward Moment") who should be a huge star by year's end, not to mention bad guy Cooper, who should also be a recognizable face thanks to the "Captain America" films. The often preposterous but entertaining "Need for Speed" should please those needing another mindless racing flick, and could give that other racing movie series a run for its money.

Wes's Grade: C+

The Grand Budapest Hotel - A-

Rated R, 100 minutes

"The Grand Budapest Hotel" one of Anderson's grandest, funniest tales

Edward Norton, Ralph Fiennes and Tony Revolori

Part oddball comedy, part murder mystery and part Benny Hill, the hilarious new Wes Anderson ("Moonrise Kingdom") film "The Grand Budapest Hotel" is one of his most silly, with winning, funny performances from a large ensemble cast. The movie recounts the adventures of Gustave H (Ralph Fiennes) , a legendary concierge at a famous European hotel, and Zero Moustafa (newcomer Tony Revolori), the lobby boy who becomes his most trusted friend as they weave their way through the battle of a priceless painting and family fortune following the mysterious murder of a rich matriarch (Tilda Swinton). Written, directed and produced by Anderson, one of cinema's most unconventional filmmakers, the charmingly witty and odd "The Grand Budapest Hotel" is filled with Anderson's quirky, hip style mixed with zany British humor on a more lavish, colorful palette and extensive cast. Anderson's unique style comes alive here and moves at a fast, fun pace told in quick segments that build on each other, with memorable performances, lovely sets (all filmed in Germany) and a complementary stringy score from Alexander Desplat that shows quite a change for the director who started with the low-budget "Bottle Rocket." Of the unnecessarily large cast, the most memorable include Fiennes, who is at his most witty in the lead, aided with warm chemistry with Revolori, in his debut film, along with Swinton in a tiny but crucial role that finds her unrecognizable under a load of makeup, as well as Willem Dafoe, F. Murray Abraham, Edward Norton, and Jude Law (not to mention a wickedly funny and near-unrecognizable Harvey Keitel in the film's funniest extended cameo). Anderson's overly ambitious plotting and excessive stunt casting (Anderson regulars Jason Schwartzman, Bill Murray, Adrien Brody, Bob Balaban and Owen Wilson are all essentially unnecessary here) weaken its second act, but there are plenty of silly moments to be had, including the photobombing effect from many of the actors in various scenes (Schwartzman and Norton in particular). It may not have universal appeal, but "The Grand Budapest Hotel" is still Anderson's funniest, most mainstream effort to date and one of 2014's best efforts. Too bad its early-year release date will undermine any award chances later in the year.

Wes's Grade: A-

Veronica Mars - C+

Rated PG-13, 108 minutes

An entertaining rehash, "Veronica Mars" is for die-hard fans of series

Kristen Bell as Veronica Mars

If you enjoyed the CW TV mystery series "Veronica Mars" about an amateur high school sleuth, then you'll probably love the entertaining movie version, a mildly entertaining, witty rehash of the 2004-2007 show. Veronica Mars (Kristen Bell), former high school sleuth, has moved to New York City nine years after the series ended. She wishes to distance herself as far from her hometown Neptune as possible, but is forced to return when her old boyfriend Logan Echolls (Jason Dohring) is once again accused of murder. Directed, co-written and co-produced by series creator Rob Thomas, the pleasant though unnecessary feature film version "Veronica Mars" is really for die-hard fans of the popular cult series, providing a thin excuse for a reunion of the series cast and to capitalize on Bell's new big screen stardom. The charming Bell is a delight to watch as usual, but the predictable plotting gives her little to do in expanding her character outside of sleuthing. If it feels like a TV movie, it's because it would've been more effective there than it does on the big screen not to mention it has a large following and built-in audience who would've easily come back for a reunion special. Most of the cast from the original series is back, with a few additions, including Jerry O'Connell and Jamie Lee Curtis, but this is really Bell's show, and she ably carries the movie with her quick one-liners. "Veronica Mars" is slight and modestly entertaining, and we can thank a nice Quickstarter funding campaign for this, but it'd be much better to take Veronica Mars back to the small screen where she belongs for a series of periodic TV movies ala Tom Selleck's Jesse Stone or Angela Lansbury's Jessica Fletcher, allowing the now-popular Bell to continue her big screen career. Case closed.

Wes's Grade:  C+

Mr. Peabody & Sherman - B

Rated PG, 92 minutes

Sherman and Mr. Peabody

The puns are the most fun in colorful "Mr. Peabody and Sherman"

Every dog needs a boy. Yes, you read that right. That's the premise of the amusing dog-boy time traveling animated comedy "Mr. Peabody and Sherman" from Dreamworks Animation and the director of "The Lion King" and loosely based on characters originated from "The Rocky and Bullwinkle Show." Mr. Peabody (Ty Burrell) is the smartest being in the world and has adopted a young boy named Sherman (Max Charles). Their time-travel machine, called the WABAC (pronounced wayback), has provided them with some great adventures that threaten the space-time continuum along with their relationship. Silly stuff for sure, but "Mr. Peabody and Sherman" is wacky, colorful fun that should please the kids, though they won't get all the humor. Especially silly is the heavy (maybe even over) use of fun puns that may lose the younger set but the adults in particular will enjoy ("I'm just an old GIZA" and "when in doubt, keep Troy-ing" among them). Mr. Peabody and Sherman is nothing new, either, given they've been around since the 1960s, when their "Peabody's Improbable History" segments were featured on "The Rocky and Bullwinkle Show," though this is a worthy update of that old cartoon. Burrell has fun as the nerdy Mr. Peabody, though Allison Janney and animated voice staple Patrick Warburton get some of the better lines as a villainous school counselor and Greek soldier, among many of the talented voices featured in their time travails (yes, that's Mel Brooks briefly as Einstein). Directed by Rob Minkoff of "The Lion King" fame, "Mr. Peabody and Sherman" is energetic, goofy and filled with some solid laughs, even if the premise is a little thin and scattershot, particularly in the meandering second act. The young ones certainly won't get all the puns (they fly by at a rapid rate) but they'll have fun anyway (who doesn't love a talking dog?) and won't even care (at this point) how truly improbable it all really is.

Wes's Grade: B

300: Rise of an Empire - C

Rated R, 103 minutes

Vapid "Rise of an Empire" presents more heavily stylized action

King Xerxes (Rodrigo Santoro)

"300: Rise of an Empire" is about the ancient war between the Greeks and Persians, though the real battle is style versus substance, with style triumphing mightily over any real depth. A Frank Miller-inspired sequel to the hit 2007 film "300" directed by Zack Snyder (who produces and writes here), that film's gorgeous palette was somewhat new, and by now while it still entertains, it doesn't provide anything fresh. Taking place before, during and after of the events of "300," this film concerns the rise of powerful Persian King Xerxes (Rodrigo Santoro, from the first film), or the "God King," whose desire to rule the world means he must invade and take over Greece, with his evil ally Artemisa (Eva Green) leading the charge. The only problem is, those bare-chested, six-pack ab Greeks, led by Themistocles (Sullivan Stapleton), won't go down without a fight, leading to an epic battle of power, blood and strategy. Directed by Noam Murro, the trashy and modestly enjoyable "300: Rise of an Empire" is loosely-based on Miller's unpublished graphic novel and is mostly a fictional but often exciting retelling of historical events, I'm sure far more entertaining here than it actually played out. Just as the recent flop "Pompeii" proved, don't expect a straight history lesson here, with an exceeding amount of style filling in the gaps for the scattered, sloppy storytelling and characters. Admittedly, some of it is intriguing and entertaining, with the bloody, fast-paced action sequences the most memorable, but everything in between is largely flat and truly just ridiculous (Santoro in particular looks silly prancing around in chains and a gold speedo). Much like other Miller-inspired material (including the upcoming "Sin City" sequel), there's loads of CGI, special effects, handsome actors and bright red blood that looks so dramatic when splattered everywhere you may forget that Gerard Butler was even involved in the first film. What made "300" so cutting-edge seven years ago now seems so unoriginal, and I see this mildly entertaining but mostly forgettable, empty "Rise of an Empire" being a hit, but nowhere near the level of that first blockbuster film.

Wes's Grade: C

The Wind Rises - B+

Rated PG-13, 126 minutes

"The Wind Rises" a lovely celebration and coda to Miyazaki's career

"The Wind Rises" is the new Oscar-nominated Japanese animated film from legendary Japanese animator Hayao Miyazaki ("Ponyo," "Spirited Away") in what is likely his last film. The film, set in pre-war Japan and directed and written by Miyazaki and loosely based on a short story from the director, concerns a young boy named Jiro who dreams of being an aviator and grows up to be an aircraft engineer whose works impact some of the Japanese conflicts later on. "The Wind Rises" isn't Miyazaki's best but it is a sumptuous fantasy-adventure highlighted by some of the director's trademark non-linear dream sequences and lush palettes. Miyazaki has been called the Japanese version of Disney or Spielberg, and it's never more evident here in his story about the boy whose inventions have significant impact on society and his own life. Themes of the corruption of beauty and human loss are painstakingly and powerfully realized by Miyazaki and they will no doubt resonate with those affected by tragic losses, though the narrative, much like Miyazaki's tales, feels somewhat distant and depressing. Overall, it's an emotionally and visually satisfying film, and "The Wind Rises" is much deeper than just surface level beauty. The English dub, featuring voices from actors such as Joseph Gordon-Levitt and Emily Blunt, is unnecessary, and I'd stick with the original Japanese language version with subtitles. Nominated for the Oscar for Animated Film for 2013, this is a treat especially for Miyazaki fans.

Wes's Grade: B+

Son of God - C+

Rated PG-13, 135 minutes

Handsome Biblical epic "Son of God" skims the surface

Diogo Morodo as Jesus

The uneven but affecting new Biblical epic "Son of God" has God on its side, not to mention "Survivor" producer Mark Burnett and his "Touched By An Angel" wife Roma Downey. The detailed, upscale film is handsomely filmed and executed and should please its target audience, though the film is just essentially an extension of the Burnett-Downey epic TV miniseries "The Bible" that was a big hit last year on The History Channel. "Son of God" focuses on the life and works of Jesus, from birth to resurrection. Admittedly, Burnett and company have a good eye for this type of thing and many aspects visually interpreted very well, not to mention Portugese actor Diogo Morodo has the right gleam in his eye in his soft-spoken portrayal of the Savior. However, as with many Biblical films, it's difficult to encapsulate everything into one film and it too skims the surface, focusing heavily on the bloody crucifixion (perhaps for that reason, it's very bloody). Christians may find some satisfaction in the fact that this is better than most Biblical or Christian-themed films, less entertaining than Charlton Heston but far more satisfying than Kirk Cameron. Worth a look if you were a fan of "The Bible" miniseries from last year, though it feels like it's just a rehash of a couple of those episodes.   

Wes's Grade:  C+

Non-Stop - B-

Rated PG-13, 110 minutes

Neeson holds together the silly but exciting thriller "Non-Stop"

Liam Neeson

"Non-Stop" is an unoriginal but tense thriller starring one of my favorite actors, Liam Neeson, and without him this wouldn't be near as fun to watch. During a transatlantic flight from New York City to London, U.S. Air Marshal Bill Marks (Neeson) receives a series of cryptic text messages demanding that he instruct the government to transfer $150 million into an off-shore account or someone on the flight will be killed every 20 minutes. Directed by Jaume Collet-Serra, who directed the Neeson thriller "Unknown," the action-suspense thriller "Non-Stop" is ridiculous, often preposterous fun that's held together by the everyman glue of Neeson, who has become the go-to guy for things like this. Honestly, if you thought about it more, you may catch some of its plot holes (literally), so to enjoy this "Non-Stop" flight, it's best to sit back, fasten your seat belt and go along with it for awhile. "Non-Stop" is an exciting ride but not without some bumps along the way: it's a pretty standard, by-the-numbers action film with too many diversions and too few genuinely interesting characters, in particular wasting some fine female actresses, including Julianne Moore (a lovely face but largely unnecessary here), as well as "Downton Abbey's" Michelle Dockery and "12 Years a Slave's" Lupita Nyong'o, both underused here as flight attendants. On the plus side, the energetic pacing keeps the film flowing to an over-the-top, breathless finale that is easily the film's centerpiece, not to mention it has Neeson as its star, a fine actor and a terrific action film star, and while this isn't his best action film of late (see 2012's "The Grey"), it's certainly one of his more entertaining. "Non-Stop" flies by so quickly you may not notice its imperfections, but it can be intense fun in the right moment, just as long as it's not shown as an in-flight movie.

Wes's Grade: B-

My Oscar Predictions!!

Here are my predictions for this year's Oscar's in all categories (subject to change before the big night), to be telecast this Sunday, March 2 at 7pm on ABC-TV. For more information about this year's ceremony, go to: http://oscar.go.com/.

Wes’s 2014 Oscar Predictions

 

Picture: “12 Years a Slave”

Actor: Matthew McConaughey, “Dallas Buyers Club”

Actress: Cate Blanchett, “Blue Jasmine”

Supporting Actor: Jared Leto, “Dallas Buyers Club”

Supporting Actress: Lupita Nyong’o, “12 Years a Slave”

Director: Alfonso Cuaron, “Gravity”

Original Screenplay: Spike Jonze, “Her”

Adapted Screenplay: John Ridley, “12 Years a Slave”

Animated Feature: “Frozen”

Foreign Film: “The Great Beauty”

Documentary:“The Act of Killing”

Production Design: “The Great Gatsby”

Cinematography:“Gravity”

Costume Design: “The Great Gatsby”

Editing: “Gravity”

Makeup and Hairstyling: “Dallas Buyers Club”

Score: “Gravity”

Song: “Let It Go” from “Frozen”

Sound Editing: “Gravity”

Sound Mixing: “Gravity”

Visual Effects: “Gravity”

Animated Short: “Get a Horse!”

Documentary Short: “The Lady in Number 6”

Live Action Short: “The Voorman Problem”

Pompeii - C-

Rated PG-13, 102 minutes

Ridiculous and trashy "Pompeii" entertaining in the right mood

Kiefer Sutherland

Part historical film, part love story and part disaster film, Paul W.S. Anderson's new film "Pompeii" isn't as bad as it could've been (where's his wife Milla Jovovich?) but that doesn't mean it's great, either. A pricy, mildly entertaining piece of junk, "Pompeii" is a silly mix of swords-and-sandals history and disaster, with the elaborate sets, costumes and special effects the real star of the show. Set in 79 A.D., Pompeii tells the epic story of Milo (Kit Harington), a slave turned invincible gladiator who finds himself in a race against time to save his true love Cassia (Emily Browning), the daughter of a wealthy merchant who has been unwillingly betrothed to a corrupt Roman Senator (Kiefer Sutherland) as Mount Vesuvius erupts in a torrent of blazing lava, threatening to destroy everything around them. Anderson, most memorable for making the crowd-pleasing "Resident Evil" series, fills "Pompeii" with an impressive final action sequence (who doesn't love an exploding volcano in 3D?) and some nice special effects, though Anderson seems to be strangely fond of destroying miniature sets. Other than the sublime visuals, there's not much else to speak of. Supposedly, Anderson and crew spent 7 years researching all of this, but you wouldn't know it: the story and plotting is creakier than the ground below the volcano, while the acting is short of high camp, with a game Sutherland in particular chomping on whatever scenery he can get a hold of. Harington, of HBO's "Game of Thrones" and "Sucker Punch's" Browning make for a pretty pairing, though they're given little to do but hold a fake sword and run. A lot. The explosive star of "Pompeii" is really that volcano, and the real fun doesn't begin until it finally erupts with full 3D force in the final act, and if you're familiar with history you know it all ends in a blaze of glory. "Pompeii" is a mildly enjoyable, trashy epic fashioned as only Anderson could do it, so grab your 3D glasses and let the lava flow.

Wes's Grade: C-

3 Days to Kill - B-

Rated PG-13, 113 minutes

Kevin Costner

Costner channels an older Bourne in the unoriginal but fun "3 Days to Kill"

Take an older Jason Bourne and throw in some Liam Neeson from "Taken" and you have the new Kevin Costner spy thriller "3 Days to Kill," produced and co-written by famed French filmmaker Luc Besson. That's part of the movie's problem, it feels too unoriginal and familiar, but Costner's weathered look serves him well in the energetic action thriller. Oscar-winner Costner plays a dying CIA agent named Ethan who reconnects with his wife (Connie Nielsen) and daughter (Hailee Steinfeld) only to be recruited for one last job by a hot shot CIA agent (Amber Heard) who promises a lush retirement package and medical treatment. Directed by McG ("Charlie's Angels"), the enjoyable "3 Days to Kill" filled with those usual spy cliches of "one last job" and so on not to mention numerous plot holes, but Costner's age (he looks like hell but still charming), a good mix of humor and decent chemistry with Steinfeld as his daughter will keep your interest throughout. Remarkably, "3 Days to Kill" is better than the Jack Ryan effort Costner was a part of recently, and if you don't care much for spies, you'll get to see Costner plenty this year as this is the second of five film appearances he will make in 2014 (next up is the sports comedy "Draft Day" in April). "3 Days to Kill," filmed in France, has some nice Besson-esque touches, particularly in the fast-paced action and tight, up close fight sequences, which make the film a memorable ride in spite of its predictable, over-the-top script. Costner's a little old for all of this, but "3 Days to Kill" is an entertaining piece of puffery for the late winter.

Wes's Grade: B-

Endless Love - B-

Rated PG-13, 105 minutes

Sappy and vapid, "Endless Love" remake still manages to entertain

Alex Pettyfer

OK, I fully and completely admit to it right here. I am a sap when it comes to some romantic films and as determined to dislike the new remake of "Endless Love," I just couldn't. Sure, it's cliched and hardly anything new, but there's some appeal about seeing pretty people fall in love. The story of a privileged girl Jade (Gabriella Wilde) and a charismatic boy David (Alex Pettyfer) whose instant desire sparks a love affair made only more reckless by Jade's stern father (Bruce Greenwood) trying to keep them apart. With charming leads, handsome photography and a semi-cool alt punk soundtrack, "Endless Love" will successfully appeal to the younger set. The good-looking Pettyfer ("Magic Mike") and sturdy character actor Greenwood ("Star Trek") in particular have some good moments, though British actress and model Wilde, while quite lovely, isn't as believable as an innocent, quite smitten young girl. Based on Scott Spencer's novel and a remake of the dreadful Franco Zefferelli 1981 film that featured a woefully miscast Brooke Shields, it's far more upbeat than either the novel or the earlier film, and admittedly, this new version won't be a classic either but there's far more to enjoy here than the pitiful melodrama of the earlier film. Pettyfer and Wilde have decent chemistry, even though they can't really do much with the cliched, sappy rich-poor storyline (particularly in its silly last act) that's as old and calculated as love itself. But for those desiring a fleeting escape from real life this Valentine's Day will enjoy all the sappy entertainment of pretty people falling in love that "Endless Love" has to offer. Even better is the alt rock-punk sountrack, with such enjoyable tunes as "All of Me" from the Tanlines and "Ends of the Earth" by Lord Huron.

Wes's Grade: B-

About Last Night - C

Rated R, 100 minutes

Sweet but bland remake "About Last Night" waters down its relationships

Regina Hall and Kevin Hart

The new romantic comedy "About Last Night" isn't really new: it's a remake of a 1980s Brat Pack film, and in spite of an engaging cast and a few fun moments, lacks the raunchy edge the original film had. A new version of the 1986 film "About Last Night" and the David Mamet play "Sexual Perversity in Chicago," this contemporary urban Los Angeles retelling closely follows new love for two very different couples (Michael Ealy and Joy Bryant and Regina Hall and Kevin Hart) as they journey from the bar to the bedroom and who relationships are eventually put to the test in the real world. Directed by Steve Pink ("Hot Tub Time Machine") and written by Leslye Headland ("Bachelorlette"), it bears little resemblance to the original film or the Mamet play and lacks the relationship insight or the dirty playfulness of those initial efforts (not to mention no Demi Moore and Rob Lowe). The central problem is that it spends too much time on the blander, boring pairing (Ealy and Bryant) who share little chemistry, and not on the fun pairing of Hart and his female twin, Hall, who all but walk off with the movie when they're together (the hilarious Thanksgiving scene is their most memorable scene together). Hall and Hart would be much funnier in their own movie together, instead it's filled with the banality of the pretty couple, Ealy and Bryant, who spend too much time arguing over minor things. "About Last Night" isn't a terrible effort, just a mediocre one compared to the wittier 1986 film (which makes a cameo, watch closely for it). Outside of the fun Hall and Hart provide, you're better off with something else this Valentine's Day.

Wes's Grade: C

Robocop - C+

Rated PG-13, 121 minutes

Joel Kinnaman is the new Robocop

Cast and visuals save this run-of-the-mill version of "Robocop"

Biggest question with the new, long-delayed and long-awaited "Robocop" remake, does it match the original 1987 film? No it doesn't. It's not as smart and lacks the gritty playfulness of that Dallas-filmed sci-fi classic from Paul Verhoeven. Yet, with an A-list cast and a big budget, it has added some nice touches, particularly with the visuals, and manages to provide some enjoyable moments. In 2028, multinational conglomerate OmniCorp is at the center of robot technology, making billions from using drones overseas but prevented to do so in the U.S. from national laws. To circumvent these laws, OmniCorp CEO Raymond Sellars (Michael Keaton) has his marketing team, in conjunction with scientist Dr. Dennett Norton (Gary Oldman), create a new law enforcement product by combining human and machine, using the mind of critically injured Detroit cop Alex Murphy (Swedish actor Joel Kinnaman, of the TV show "The Killing"). The new "Robocop" is bound for comparisons with the original 1987 film,  though in fact it's a vastly different film, a standard, run-of-the-mill action film geared more for the masses than that original film. Directed by Brazilian director Jose Padilha, this version seems a tad watered down and soulless compared with the '80s version, and the script is downright weak. But the sharp, if not loud, visuals crackle and pop with energy, and once the blandish Kinnaman puts on that shiny Robocop suit, it puts some life into a film that nearly goes wrong in many ways. Plus, it's nice seeing Keaton back playing a slimeball CEO and Oldman (interestingly both of whom have played in both sets of "Batman" films) in the scientist-with-a-heart role, and they have a couple of nice scenes together. The family melodrama and its politics, featuring Samuel L. Jackson as essentially a black Bill O' Reilly, seem misplaced here, and it's obvious that this "Robocop" works best when he's hunting down the bad guys. Sure, on that note it leans toward the dumber side, taking itself a little too seriously at times, but this "Robocop" still emerges a modestly entertaining sci-fi action film. This may disappoint fans of the original version, but the impressive cast and visuals save it from being a complete waste, and audiences should turn out at least in the short term for curiosity.

Wes's Grade: C+

Vampire Academy: Blood Sisters - D

Rated PG-13, 104 minutes

Zoey Deutch as Rose Hathaway

"Vampire Academy" does suck, but in the wrong ways

"Vampire Academy: Blood Sisters" is a new teen vampire movie, based on the best-selling young adult novels of the same name by Richelle Mead. While it's an interesting story, the film adaptation lacks bite, originality and energy and will most likely bore its target audience of teen girls. Rose Hathaway (Deutch) is a Dhampir: half human/vampire, guardians of the Moroi, peaceful, mortal vampires living discretely within our world. Her legacy is to protect a Moroi princess (Lucy Fry) from bloodthirsty, immortal Vampires, the Strigoi. "Vampire Academy" is directed by "Mean Girls" Mark Waters and penned by his older brother, "Heathers" screenwriter Daniel Waters. The problem is that "Vampire Academy" combines too many elements of those films, feeling like an uninteresting vampire version of "Mean Girls" with a little "Harry Potter" thrown in for good measure. Worst of all, it's rather boring and stale, with too many slow, talky sequences of exposition and flashbacks, and culminating in a predictable good-versus-evil climax that could be seen coming from a mile away. TV actors and newcomers Deutch and Fry are both lovely but wasted under a bad (and often confusing) script and direction from the Waters brothers, both of whom have done much better than this tripe. It also wastes a terrific actor in Gabriel Byrne, in a small role as an elderly, dying vampire. Don't waste your money or time on "Vampire Academy: Blood Sisters" given how much it does really suck as a movie.

Wes's Grade: D

The Monuments Men - C+

Rated PG-13, 112 minutes

Unlike the art, "The Monuments Men" is flawed, but still modestly entertaining

Matt Damon and George Clooney

The mildly entertaining new dramedy from George Clooney, "The Monuments Men," is based on a fascinating true story about how the Allies worked together to save loads of priceless art from the Nazi's during World War II. With a delayed release from late last year and some mixed reviews popping up, it was rumored that the film wasn't that good. Well the good thing is "The Monuments Men" is better than expected, but unlike much of the treasured art that was saved, it's imperfect and uneven, saved by a charming ensemble cast that works well together. Clooney is George Stroud, who leads an Allied platoon  comprised of various museum directors, curators, and art historians (including Matt Damon, Bill Murray, John Goodman, Bob Balaban, Jean Dujardin, and Hugh Bonneville). They are tasked with entering Germany with the Allied forces during the closing stages of World War II to rescue artworks plundered by the Nazis, saving them from destruction or damage, and returning them to their rightful owners. Directed and co-written by Clooney, "The Monuments Men" is an uneven but enjoyable mix of historical drama, war film, action and drama with some humor thrown in. Clooney struggles here in finding the right tone to keep his audience interested in understandably dry material, alternating between humor and seriousness, though that doesn't work well given the subject matter, and the film simply works best when it focuses on tracking down the art rather than on the men cracking jokes and having a good time (yes, it's more interesting than it sounds). Admittedly, there are still a few good moments and the cast works well together, with Clooney and Damon giving believable turns as the two who lead the charge in locating the art, though two fine actors in Oscar-winner Dujardin and Bonneville (of "Downton Abbey") seem minimized, as does Cate Blanchett who outshines the men, giving the film's most layered performance. This could also be a case where the film's backstory is more fascinating than the rambling storyline, which could've used additional fine tuning in editing out unnecessary situations and characters. True, "The Monuments Men" isn't Clooney's best effort at directing or acting, lacking a little emotional heft, but the engaging cast keeps it watchable most of the time. Worth a look especially for those who enjoy a good history lesson.

Wes's Grade: C+

The Lego Movie - B+

Rated PG, 101 minutes

Wry, clever "The Lego Movie" plenty of fun for both adults and kids

Chris Pratt as Emmet

Whether or not the popular children's construction toy Lego's were a part of your childhood, you'll still enjoy the clever, witty new animated film "The Lego Movie," which crackles and pops with absurd humor and situations in spite of a thin, scattered script. In the Lego universe, an ordinary mini-figure named Emmet (Chris Pratt) is mistaken as being the Special who can save the Lego universe from destruction from the evil tyrant Lord Business (Will Ferrell). Directed by Phil Lord and Chris Miller, the team behind such comedic and animated hits as "Cloudy With a Chance of Meatballs" and "21 Jump Street," the quick-witted, droll "The Lego Movie" is well-voiced and well-paced, and the absurdity of it all makes it work remarkably well. The film's adultish, tongue-in-cheek humor is a highlight, though some of the satire and witty lines (such as the fun parodies of Warner Bros. own Superman and Batman characters) may be lost on the young ones, though it helps the CG animation, which appears stop-motion, is colorful and detailed. The cast has considerable fun doing the voice roles, particularly the always delightfully evil Will Ferrell as the evil Lord Business, Pratt as Emmett, along with Morgan Freeman, Elizabeth Banks, Jonah Hill, Channing Tatum and Will Arnett in other voices. While the movie speeds by quickly and efficiently, it still feels a little long for what it really is (a movie about toys), but "The Lego Movie" is still pleasant, clean and often self-referential entertainment that the whole family may enjoy, and expect to be humming the film's signature and ingratiating tune, "Everything is Awesome."

Wes's Grade: B+

Labor Day - C+

Rated PG-13, 111 minutes

"Labor Day" an odd, slow movie with an alluring Winslet

Josh Brolin and Kate Winslet

"Labor Day" is an odd movie, in an unusual, peach pie sort of way. The new film from Jason Reitman ("Up in the Air," "Juno") and based on Joyce Maynard's novel of the same name is a flawed, awkwardly handled story of a dual coming-of-age-story. The story is familiar and slow though its lead actress is alluring. Kate Winslet is Adele, a depressed and emotionally shaky single mother to 13-year old Henry (newcomer Gattlin Griffith, very good here). Adele and Henry's lives are changed when a fugitive named Frank (Josh Brolin) enters their lives on Labor Day weekend, providing attention to the lonely, love-starved pair. Unconventional for sure, slow and peppered with a few lovely moments "Labor Day" is awkwardly staged, which may be due to the misdirection. Reitman, a gifted filmmaker who generally takes on quirky dramedies such as "Juno," seis an unlikely fit for Maynard's serious novel and while he brings out some of the peculiarities and humor of the story he can't get a good handle on the unusual material. It's unfortunate due to a strong cast, and Winslet gives one of her most fully-realized performances as the depressed mother who finds just what she needs in Frank; it's her change from shaky wallflower to butterfly that is one of the main reasons to see the film, in addition to that pie. She, Griffith and Brolin all work off each other nicely even through the movie's more familiar conventions. On the downside, its slowish (i.e. boring) tone and sluggish plotting is problematic, a little too uneven and peppered with too many unnecessary flashbacks, as well as Reitman's script, which becomes less brave and more predictable in the last act. "Labor Day" is a slow movie packed with flaws and a lovely performance from Winslet, with that delectable peach pie the most memorable thing from the film.

Wes's Grade: C+

That Awkward Moment - C

Rated R, 94 minutes

Bawdy "That Awkward Moment" provides little relationship insight, but still sporadic fun

Zac Efron

When in doubt, go raunchy. If it can work for Channing Tatum or James Franco, it can work for just about anyone. The ingratiating new romantic comedy "That Awkward Moment" is heartthrob Zac Efron's turn to be a little dirty; the raunchy undertone is unoriginal and is really nothing new, but it's so charming you may not mind. After their friend Mikey's ("Fruitvale Station's" Michael B. Jordan) break-up, Jason (Efron) and Daniel ("The Spectacular Now's" Miles Teller) promise to stay single with him. However, they both end up falling in love and have to avoid facing their promise. Directed and written by first-timer Tom Gormican, "That Awkward Moment" could've easily been called "Let's Have Sex" due to the number of times they jump in the sack, it's bawdy fun, with a calculated premise that's thinner than Nic Cage's hairline. This is supposed to be Efron's film, and as likably bland as he is, everyone around him is better, which may or may not come as a surprise. Jordan (slumming it a little after his stellar turn in last year's "Fruitvale Station") is the most heartfelt, while Teller, reminding of a younger "Swingers" (and much less annoying) version of Vince Vaughn, has the most memorable lines. As the ladies in their lives, Imogen Poots and Mackenzie Davis steal scenes from their men with such effortless ease, a case could be made for them to have their own movie too. Sure, down the stretch, especially in the last act and in the climax, "That Awkward Moment" is as awkward and predictable as its title, and you have a feeling of where it will end up before it gets there. Yet the charming, talented cast help blend the funny and tender moments for a serviceable rom com that should especially appeal to the young set. One of Efron's better efforts, it's worth seeing for the lovely Imogen Poots and the often hilarious Miles Teller.

Wes's Grade: C

The Square - A-

Unrated, 104 minutes

"The Square" a riveting documentary on Eqyptian unrest

One of the images captured in the Oscar-nominated documentary "The Square"

The compelling documentary "The Square" was first released in the fall of 2013, but since then it has garnered an Oscar nomination for Best Documentary. The complex but inviting documentary is a powerful look at a revolution still occurring in Eqypt and is still worth a look (find it on You Tube or Netflix) before the Academy awards on March 2. Directed by Egyptian filmmaker Jehame Noujaim, "The Square" is the inspirational story of young people claiming their rights, struggling through multiple forces: from a brutal army dictatorship willing to crush protesters with military tanks, to a corrupt Muslim Brotherhood using mosques to manipulate voters.  In particular, its focus takes place between the winter of 2011, when crowds of protesters gathered in Tahrir Square demanding the removal of President Hosni Mubarak, to the summer of 2013, when the army ousted his successor, Mohamed Morsi, and began a violent campaign against his followers in the Muslim Brotherhood. Noujaim's relevant immediacy is what makes this documentary so riveting, even if you don't fully understand the events taking place. It's also a bittersweet look at those with hope that things will change and go their way (but essentially do not), taking them back to square one. Worthwhile and satisfying but oftentimes dense and heavy handed, I wouldn't be surprised if this walks away with the Oscar for Best Documentary, though it will be hard to beat the ladies from "Twenty Feet From Stardom."

Wes's Grade: A-

I, Frankenstein - D

Rated PG-13, 100 minutes

"I, Frankenstein" a mildly entertaining mess of a movie

Aaron Eckhart

Generally, when movies don't screen in advance, that's a troubling sign, add in a January release date and you have a recipe for a terrible film. "I, Frankenstein" comes close: it's a hot mess of a movie, a little all over the place, but is peppered with some fun visuals and entertaining, fast-paced moments. Based on the graphic novel by Kevin Grevioux (who also plays the Michael Clarke Duncan-lookalike head of security for the bad guy in the movie), it's set in a dystopic present where vigilant gargoyles and ferocious demons rage in a battle for ultimate power, Adam Frankenstein (Aaron Eckhart) finds himself caught in the middle as both sides race to discover the secret to his immortality. Directed and written by Stuart Beattie ("G.I. Rise of Cobra"), "I, Frankenstein" reinvents the famed monster as a Van Helsing-style, muscled up, faded jeans-wearing demon booty kicker, and while that isn't necessarily a bad idea, a decent story (honestly, I didn't know what was really going on most of the time) would've helped to go with the mostly serviceable but overused special effects. Less of the CG and more of the always fun Bill Nighy, who plays another terrific bad guy and isn't onscreen near enough but is still the most memorable part of the movie, would've helped tremendously. The blandish Eckhart, known to most as playing a secondary character in one of Nolan's Christopher Nolan "Dark Knight" series, seems overwhelmed by it all, though he shows skill in kicking some serious demon booty. "I, Frankenstein" is a borderline awful, mildly enjoyable (in a cultish sort of way) but chaotic and muddled movie that will appeal mostly to the fan boy set, who may appreciate this sort of thing the most.

Wes's Grade: D

Gimme Shelter - C

Rated PG-13, 105 minutes

Vanessa Hudgens

Hope, good performances abound in blandly inspirational "Gimme Shelter"

I will tell you right away the new film "Gimme Shelter" has nothing to do with the 1960s song of the same name by famed rock group The Rolling Stones, though that song would've certainly given this film more edge. Though not an overtly religious or political film, the bland inspirational messages of "Gimme Shelter" doesn't do the real story behind the movie true justice. Based on the true story of Kathy DiFiore (played here by the wonderful Ann Dowd from "Compliance") that centers on 16-year-old Agnes "Apple" Bailey (Vanessa Hudgens), "Gimme Shelter" uncovers the struggle for survival and the hope of redemption through the harsh realities of life on the streets. Directed, produced and written by documentary filmmaker Ron Krauss in his feature film debut, "Gimme Shelter" is a well-acted, affecting drama that lacks true grit and emotion,  though the actors certainly do try. And though the film provide a thin veil for pro-lifers, whatever your feelings on the subject, DiFiore's story is an honorable one that's worth telling, even if there are numerous, numerous stories similar to Apple's that could've also been told. Hudgens grounds the film well in a believable, strong turn that's certainly against type for the "High School Musical" actress, and she's almost unrecognizable here as the scared, young pregnant girl. She ably supported by Rosario Dawson, also unrecognizable, as well as Brendan Fraser (very wide-eyed here) and James Earl Jones as a priest. It sheds little light on the subject, though DiFiore's story needed a better script and direction from Krauss to make it a more powerful, fully realized story.  Though largely unmemorable, "Gimme Shelter" is worth seeing especially for teenagers and for Hudgens' strong performance as Apple.

Wes's Grade: C 

Devil's Due - C-

Rated R, 89 minutes

"Devil's Due"

Unoriginal "Devil's Due" just plods rather than scares

The new horror film "Devil's Due" is essentially "Rosemary's Baby" done as "Paranormal Activity" lost-footage style. On that note, you've seen this done better and much scarier.  After a mysterious, lost night on their honeymoon, a newlywed couple (Zach Gilford, Allison Miller) finds themselves dealing with an earlier-than-planned pregnancy. While recording everything for posterity, the husband begins to notice odd behavior in his wife that they initially write off to nerves, but, as the months pass, it becomes evident that the dark changes to her body and mind have a much more sinister origin. Co-directed by Matt Bettinelli-Olpin and Tyler Gillett with a screenplay by Lindsay Devlin, "Devil's Due" has a handful of chilling moments, but the thin premise and the overdone lost-footage style make this a bit of a bore. It's unfocused direction and script have too much of the mundane and less of the genuine scares, which really don't come until the ending. Classics such as "The Omen," "The Exorcist" and "Rosemary's Baby" were far more chilling than "Devil's Due" so you'll be better off just renting one of those than wasting your time with this plodding horror film.

Wes's Grade: C-

Ride Along - D

Rated PG-13, 100 minutes

Kevin Hart and Ice Cube

Don't go on this loud, dumb "Ride Along"

The dreadful new comedy "Ride Along" only proves what a junky movie month January can be. It also proves that regardless of what studios put out, people will pay to see it. Peppered with a few genuinely funny moments, this scattershot, thin comedy will mostly annoy you. A fast-talking, jumpy security guard Ben (Kevin Hart) joins his potential brother-in-law James (Ice Cube), an APD cop/detective, on a 24-hour patrol of Atlanta in order to prove himself worthy of marrying Angela (Tika Sumpter), James' sister. Directed by Tim Story, who helmed the hit 2012 film "Think Like a Man," this inane, predictable and often mean-spirited buddy-buddy cop movie relies too heavily on the schtick of Hart, whose big mouth and pratfalls grow tiresome from the opening scenes of the movie. Much like in the recent, equally awful comedy "Grudge Match," this demonstrates that Hart, with wild antics and a penchant for screaming his lines, is vastly overrated and best taken in small (no pun intended) doses. Ice Cube, meanwhile, seems content with being stepping back and being his usually grouchy self, while the lackluster script manages to waste a gorgeous actress like Sumpter, of TV's "The Haves and Have Nots." The last act becomes more energetic with a needless subplot involving gangsters along with the always entertaining Laurence Fishburne in a delightfully evil role that is the film's most inspired bit of casting. Forgettable and silly (not to mention most of the things that Hart's character, a civilian, does is illegal), you'll have to wait for "Ride Along's" best scene involving an exploding grill over the end credits. Don't think is going away easily, either. A sequel has already been greenlit.

Wes's Grade: D