Step Up Revolution - D

Rated PG-13, 97 minutes

Latest "Step Up" film has great moves, little else

Ryan Guzman and Kathryn McCormick

"Step Up Revolution" is the fourth "Step Up" film that originated in 2006 and launched the career of now superstar Channing Tatum. Like that film and its other sequels, the best part about the film is the dancing, with little else to offer in terms of acting, story or characters, though with these films, the dancing is exactly the point. "Step Up Revolution" is a glossy, extended music video with some great dance sequences, but as a movie, it's on the lousy side. Emily (Kathryn McCormick) arrives in Miami with aspirations of becoming a professional dancer and soon falls in love with Sean (Ryan Guzman), a young man who leads a dance crew in elaborate, cutting-edge flash mobs, called "The Mob." When a wealthy business man threatens to develop The Mob's historic neighborhood and displace thousands of people, Emily must band together with Sean and The Mob to turn their performance art into protest art, and risk losing their dreams to fight for a greater cause. "Step Up Revolution" is an enjoyable, entertaining film, if you enjoy dance films with a terrible script and third-rate acting. This is the end result of what you get when you build a story around the dancing, instead of the other way around (shame on Adam Shankman, who helped write the script), but truthfully it should come as no surprise. The engaging Adam Sevani, a dancer who has been in several of the films and has been one of the bright spots of the series as the character "Moose" appears here again, though all too briefly. Most of the cast is unknown but you watch closely enough, you'll see a semi-respected actor in Peter Gallagher earning a paycheck but little else as one of the leads rich fathers. "Step Up Revolution" predictably mines every movie cliche and then some, but then again this is a film about the dancing. If you enjoyed the other films you'll likely enjoy this one too, though you're likely to get more out of the TV show "So You Think You Can Dance" than this (McCormick is a finalist from a previous season). Lightweight, forgettable summer drivel.

Trishna - B

Rated R, 108 minutes

Lovely and pensive, Pinto is a worthy "Trishna"

Riz Ahmed and Frida Pinto

If you haven't fallen in love with Indian actress Freida Pinto from such films as "Slumdog Millionaire" and "Rise of the Planet of the Apes," then you will after seeing the handsome and affecting romantic film "Trishna." From British director Michael Winterbottom ("A Mighty Heart," "A Cock and Bull Story"), it's a modern, very loose adaptation of the Thomas Hardy novel "Tess of the d'Urbervilles." The film drags in the last act, but the ravishing Pinto holds the film together to make it worthwhile viewing. Set in 21st century Rajasthan, India, Pinto is Trishna, a rural woman who meets Jay (British rapper/singer Riz Ahmed), a wealthy British businessman who is in India managing one of his father's hotels. Trishna goes to work for Jay and the two fall in love. While Trishna is living a better life, circumstances and traditions force her to live a life she's unaccustomed to, and her journey will force her to make some tragic choices. Pinto's strong turn as the title character is the most satisfying thing about the lovely "Trishna" and it certainly helps she's easy on the eyes. The film is Winterbottom's third adaptation of a Hardy novel, and he seems to have a fascination with Hardy; though a loose adaptation of "Tess of the d'Urbervilles," the themes of the classic novel - modernism and sexual double standards - are ever present throughout (and for a much different adaptation, see Polanski's 1979 film "Tess"), with added Indian music and wardrobe. The film still belongs to Pinto, whose radiant smile the camera clearly loves; her palpable, warm chemistry (not to mention a few steamy scenes) with singer Ahmed make the film even better. The first two-thirds move well until "Trishna" falters in the downbeat, too subtle last act, when it meanders and fails to make a smooth transition to the changes that Trishna and Jay are forced to make, particularly when Trishna herself must make some tragic choices: accept a better life in a demeaning role or go back to her poor, rural life. Some may disagree with Winterbottom's tragic (i.e. depressing) ending, but "Trishna" is still an affecting, thought-provoking drama about love and making the right choices, and regardless of the ending you'll be completely satisfied with the stunningly beautiful Pinto, who makes this film worth the price of admission.

The Watch - C

Rated R, 100 minutes

Ill-timed mix of potty humor and aliens make for an uneasy "Watch"

Richard Ayoade, Ben Stiller, Vince Vaughn and Jonah Hill

"The Watch" is a uncomfortable, dark comedy with a great cast and writers that would be funnier if it weren't for the news. Sometimes things happen you just can't stop, which is the case with this new low-brow comedy co-written by Seth Rogen and Evan Goldberg.  A group of suburbanites (Ben Stiller, Vince Vaughn, Jonah Hill, and Richard Ayoade) form a neighborhood watch group to allow them time to escape from their families and boring lives. However, when the group discovers an alien plot that threatens the entire world, they are forced to confront it head on. "The Watch" has unfortunate timing coming after the whole tragic Trayvon Martin shooting; originally called "Neighborhood Watch" but later changed, producers should've delayed the film longer or sent it directly to DVD or pay-per-view, where it could find a more devoted audience. "The Watch" is a strictly hit-or-miss, uneasy mixture of buddy-buddy comedy, immature humor and aliens, and while it bears little resemblance to the Martin case, it's simply a case of being too soon. It's nice pairing Stiller and Vaughn together, and Vaughn in particular seems back in good form with some humorous rants and riffs and there are some nice elements to the dark humor, but overall much of it falls flat and or seems in bad taste (guns and violence are very present, which doesn't help its case), which is truly unfortunate for such a talented cast, all who've done better before. The normally likable Hill has a few good moments but his character seems the most creepy, while British comedian Ayoade is considerably underused and falls prey to the script's predictable conventions. "The Watch" isn't a terrible film, filled with a few good reflex, profane laughs and overall is more entertaining than the trailers make it out to be. But in a case where art imitates life and vice versa, "The Watch" could've been more relevant (and funnier) had it waited.

The Dark Knight Rises - B+

Rated PG-13, 164 minutes

Overlong but thrilling, "Dark Knight Rises" doesn't disappoint

Christian Bale as Batman

If “The Avengers” is the mother of all superhero movies, then “The Dark Knight Rises” is the granddaddy. The visually stunning and thrilling conclusion to the new Batman trilogy is at times too earnest and long for its own good, but Christopher Nolan’s unique vision is far from dull, always watchable and wholly satisfying. “The Dark Knight Rises” story goes this way: it’s been eight years since Batman vanished into the night, turning, in that instant, from hero to fugitive. Assuming the blame for the death of D.A. Harvey Dent, the Dark Knight (Christian Bale) sacrificed everything he and Commissioner Gordon (Gary Oldman) both hoped was the greater good, and went into exile. For a time the lie worked, as criminal activity in Gotham City was crushed under the weight of the anti-crime Dent Act. But everything will change with the arrival of a cunning cat burglar (Anne Hathway, a great addition) with a mysterious agenda. Far more dangerous, however, is the emergence of Bane (Tom Hardy, menacing), a masked terrorist whose ruthless plans for Gotham drive Bruce out of his self-imposed exile. But even if he dons the cape and cowl again, Batman may be no match for Bane. Nolan’s fresh, visionary vision of the Dark Knight tale finally comes to an end (or does it really, ever end?) in this electrifying version, which is just as good, or maybe even better, than the previous installment, 2008’s “The Dark Knight.” With a stellar cast, production and visuals, Nolan gets the job done and then some, and his final call to the dark superhero of the night should please the masses. Whereas “The Avengers” and the recent updated version of “Spider-Man” were done in comic book style, “The Dark Knight Rises” takes itself far more seriously, evidenced in the overlong 164 minute running time. Yet Nolan is adept enough with pacing and building scenes to moments of crescendo, usually with a memorably throbbing and bombastic Hans Zimmer score that’s one of the chief highlights of the film, along with an elegant, expensive production design that’s award worthy. The second act of the film does drag a bit as Bane overtakes Gotham (redundantly explosive), but overall the film is vastly entertaining and enjoyable until the stunning, extended finale. “Rises” is held together by a thoroughly evil villain in Hardy, a sturdy performance by Bale (and less raspy-voiced than usual) and the skilled prowess of Hathaway as The Catwoman, who is more the cat burglar here than female with feline powers in Tim Burton’s now 20-year old version. Joseph Gordon-Levitt is also a nice fit in a character you need to pay more attention to, and I’m glad Nolan included him here, while Marion Cotillard (like JGL, from Nolan’s “Inception”) is an interestingly bland (but not terrible) cast addition. If you enjoyed the other Nolan Batman movies, you’ll enjoy this too, and I figure it will be remembered (hopefully) at year’s end come Oscar time, particularly in the technical categories. “The Dark Knight Rises” is definitely not a disappointment and worth a look for Batman and non-Batman fans.

Grade: B+
by Wes Singleton

Take This Waltz - B

Rated R, 116 minutes

"Take This Waltz" affecting tale of love, choices

Seth Rogen and Michelle Williams

We all have choices in life. What to eat. Where to work. And who to love, which is explored in the well-acted, overlong and bittersweet dramedy "Take This Waltz," from director/actress Sarah Polley ("Away from Her"). Oscar-nominee Michelle Williams ("My Week With Marilyn") is Margot, a late twenty-something freelance writer who lives a quirky life in a beautiful old home in Toronto with her cookbook-writing husband of five years, Lou (Seth Rogen). Margot begins to examine her life with Lou after she meets hipster artist and rickshaw driver Daniel (Luke Kirby), with whom she shares an instant, genuine attraction. Given how handsome Kirby is and Rogen's penchant for annoying, immature comedy, this choice might be too obvious, though with Polley's assured direction and handling of human emotion, it's more complex than expected. "Take This Waltz" is a poignant yet uneven tale of the romantic choices we must make that works best in its first half as the film explores the unrequited love between Williams and Kirby and the unconventional husband-wife communication between Williams and Rogen. The second half goes on too long and Margot's motivations seem too shallow (sex over stability wins out here). There's some unnecessary controversy with the film as well, with a couple of nonsexual scenes of total frontal female nudity (in a shower); those scenes don't further the narrative and could've easily been excised. Williams' palpable, strong turn as the wife torn between two good men centers the film well; if this film were released closer to awards time she could easily snag another Oscar nomination. Of the men, Rogen, in a less effusive and more mature role, is actually the more likable of the two, but Canadian actor Kirby, who should play me if ever a film is made about my life, is more dashing. Polley should direct more films, her skilled direction and writing serves her well, not to mention she has a good ear for tunes in the eclectic soundtrack, including good use of the '80s song "Video Killed the Radio Star" by The Buggles. Definitely worth a look, particularly for another stellar Michelle Williams performance.

Grade: B
by Wes Singleton

Ice Age: Continental Drift - B-

Rated PG, 94 minutes

Entertainingly familiar, pleasant "Ice Age: Continental Drift"

Manny and the whole gang are back in "Ice Age: Continental Drift"

The animated film series "Ice Age" is well, showing it's age. In spite of a predictable story that's creakier than the cracks caused by Scrat, it's colorful, enjoyable fun, which is generally the case with these films. The pleasant fourth film in the series, "Ice Age: Continental Drift" brings back the whole gang: Manny (Ray Romano), Sid the Sloth (John Leguizamo), Diego (Denis Leary), and Scrat (voiced by Chris Wedge), not to mention Ellie (Queen Latifah), Crash (Seann William Scott) and Eddie (Josh Peck). This story concerns the continent breaking up once more, caused by (no surprise) Scrat. Manny, Sid, Diego and Sid's Granny (Wanda Sykes, stealing the movie) are separated from the rest of the herd on a floating piece of ice. They're captured by a group of ragtag pirates, including ape Gutt (Peter Dinklage, having fun), saber-tooth Shira (Jennifer Lopez), elephant seal Flynn (Nick Frost) and rabbit Squint (Aziz Ansari), who threaten the existence of Manny and the whole herd. If you enjoyed the other films in this series, you'll enjoy the fun but familiar "Ice Age: Continental Drift," which is held together by the memorable voicing of Sykes, who walks off with the movie as the Granny sloth and has so many good one-liners it's hard to keep track of them all, Dinklage as the villain and Leguizamo, always a treat as Sid. The rest of the cast is serviceable and most get in a quick line or two (Frost is also amusing), though the film is stuffed with too many characters and a predictable yet energetic pace. Listen closely for Drake, Nicki Minaj, Rebel Wilson, Heather Morris, Keke Palmer, Alan Tudyk  "The View's" Joy Behar and even Romano's daughter Ally, rounding out the large cast. The thin storyline is evident that the 10-year old animated feature series is showing signs of age, but then the young set, whom this geared for, will enjoy it the most and "Ice Age: Continental Drift" should be another big hit for Fox (which is already a big hit overseas). The film also has its first theme song, the pop song "Chasing the Sun," that the main cast, led by Lopez, Minaj and Latifah, sing over the end credits. Also, the hilarious wordless cartoon short "The Longest Daycare" starring The Simpsons' Maggie, opens the film. "Ice Age: Continental Drift" is entertaining, but it's mostly for the kids.

Grade: B-
by Wes Singleton

Beasts of the Southern Wild - B+

Rated PG-13, 92 minutes

Original but downbeat "Beasts" will stay with you

Quvenzhane Wallis

"Beasts of the Southern Wild" is an astonishingly original, memorable and depressing film about the survival of humanity. In a forgotten but defiant Louisiana bayou community cut off from the rest of the world by a sprawling levee, a highly intelligent six-year-old girl named Hushpuppy (newcomer Quvenzhane Wallis) exists by her childish optimism and extraordinary imagination. she believes all is in good order until a fierce storm alters her way of life. Determined to repair her world in to save her ailing father Wink (Dwight Henry) and sinking home, this tiny hero must learn to survive not only actual storms, but the storms of life. "Beasts of the Southern Wild" is an auspicious low-budget first feature of Southern-eyed survival from Benh Zeitlin that stays with you from the first frame. The mesmerizing, engaging breakout performance from Wallis is by far the best thing about the film; she is the heart and soul of the film, and without her the film would not have the same impact. As the child prodigy Hushpuppy who is wise beyond her years, she creates a performance that is staggeringly palpable and is the best child actress to come along in years. She and Henry, both native Louisianians, have great chemistry and play off each other very well to help move the story along. Zeitlin's heavy-handed, symbolic script works best when it follows Hushpuppy/Wallis, who is certainly Zeitlin's muse here and it's really a downbeat story of survival and hope, grounded by Hushpuppy's imaginary beasts that come to life in the bayou. "Beasts" nonlinear storyline may not be for everyone, and there are many metaphors that Zeitlin throws at you, perhaps too many, but it's all held together quite well by Wallis, in a performance that will hopefully be remembered come awards time. Definitely worth seeing.