Captain Phillips - A-

Rated PG-13, 134 minutes

Riveting, searing "Captain Phillips" an intense true story

Tom Hanks

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

Wes's Grade: A-

A.C.O.D - B-

Rated R, 87 minutes

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


Adam Scott

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

Wes's Grade: B-

Romeo and Juliet - C+

Rated PG-13, 97 minutes

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

Hailee Steinfeld and Douglas Booth

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

Wes's Grade: C+

Machete Kills - B

Rated R, 106 minutes

Amber Heard and Danny Trejo

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

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

Wes's Grade: B

Parkland - C

Rated PG-13, 93 minutes

Forgettable "Parkland" an unfocused view of tragic events

Paul Giamatti and Billy Bob Thornton

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

Runner, Runner - C-

Rated R, 91 minutes

Handsome "Runner, Runner" a bland, unsatisfying thriller

Ben Affleck and Justin Timberlake

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

Wes's Grade: C-

Gravity - A

Rated PG-13, 91 minutes

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

Sandra Bullock

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

Wes's Grade: A