Sleepwalk With Me - B

Not Rated, 85 minutes

Birbiglia makes for a genuinely fresh, pleasant "Sleepwalk"

Lauren Ambrose and Mike Birbligia

Breakouts don't happen very often, but I forsee a nice career for likable comedian Mike Birbligia, who directs, writes and stars in the casually amusing autobiographical film "Sleepwalk With Me," about a struggling comedian making sense of his life. Low-key and appealing, "Sleepwalk With Me" is based on Birbligia's (also seen in HBO's "Girls") book and one-man stage play of the same name, which in turn are based on his own life. Birbligia plays a struggling, early 30s guy trying to figure out his life. He bartends and does occasional stand up at club and lives with his girlfriend of several years, Abby (the lovely Lauren Ambrose of "Six Feet Under"), though he's encouraged by his parents (James Rebhorn and Carol Kane) to do more with his life, not to mention he struggles with a sleep disorder that causes him to do unusual things. He finally gets a break and starts doing stand up full-time, giving a little balance to his career, though he's still unsure of his future with Abby. Birbligia is the perfect schlubby every man, who like many comedians, infuses his own life experiences into his onstage act; he's genuinely fresh and charming without the level of obnoxiousness that you often find in comedy these days. Birbiglia's best when being himself onstage or interacting with other characters but "Sleepwalk" doesn't work as well when he breaks the "fourth" wall and talks to the audience. It's a gimmicky move often used when the material is thin, and it typically doesn't work, and it particularly falters for a newcomer like Birbligia. "Sleepwalk" is probably better suited for the small screen, which Birbligia could easily transition to in the vein of Louis C.K. Even with its flaws, I liked "Sleepwalk With Me" and it showcases what could be a breakout performance from a genuinely agreeable and engaging comedian.

For a Good Time, Call... - B-

Rated R, 86 minutes

Spry, playful girl-buddy comedy “For a Good Time, Call…”

Ari Graynor, Justin Long and Lauren Miller

 “For a Good Time, Call…” is a well-worn but enjoyable comedy that’s a decent late-summer entry with less raunch and more heart than usual considering the premise. Katie (Ari Graynor of the recent “Celeste and Jesse Forever”) and Lauren (newcomer Lauren Miller, who also co-wrote the script) are two incompatible New York City roommates, their differences become more apparent with a disapproving Lauren learns of her roommate's occupation as a phone sex operator. However, after Lauren loses her job she joins forces with Katie to create a highly lucrative phone sex business. In the process of their venture, both girls start to become firm friends though a betrayal could threaten their friendship and their business. Though the story is predictable and comedy a little bland, you’ll have a good time with the pleasant, charming “For a Good Time, Call…” that’s a touching, brisk take on genuine friendship without all the raunch so prevalent these days in film comedy. The attractive, likable leads in Graynor and Miller, both underrated actresses, are the best thing about the heartfelt comedy, and Graynor in particular has a colorful comedic energy.  Justin Long, Mark Webber, James Wolk, and Mimi Rogers all contribute some fun moments in brief supporting roles, and watch for a couple of hilarious cameos from director Kevin Smith and Seth Rogen. “For a Good Time, Call…” is nothing new or groundbreaking, but it’s a remarkably playful, energetic take on female friendship.

Cosmopolis - D

Rated R, 108 minutes

Robert Pattinson

Odd, rambling and self-indulgent “Cosmopolis”

“Cosmopolis” has to rank as one of the year’s more bizarre, plotless independent films and among noted director David Cronenberg (“Eastern Promises”) worst film. Based on Don DeLillo’s novel of the same name, the film’s incessant, stilted dialogue wants to say something important about capitalism, wealth and the US free market in general, but it’ll lose you early on. The film concerns young billionaire Eric Packer (Robert Pattinson), who begins his day slowly riding across Manhattan to get a haircut. Along the way he runs across several obstacles, including a visit from the President of the United States, a young rapper’s funeral, and riots that he is the cause of. He realizes during this trek his company is losing money quickly and he is losing his fortune, and maybe his life in the process. Slow, talky and dizzyingly odd and rambling, “Cosmopolis” is a failure largely due to the inept script from DeLillo and Cronenberg and Cronenberg’s flat direction. Cronenberg, even with his successes in recent years with “Eastern Promises” and “A History of Violence,” has never been one to fit in with the mainstream, and he seems to veer way off course here, with 80% of the film shot inside a white limo. It would be easy to pin the blame on Pattinson, a bland actor over his head here, but place the blame for the dismal “Cosmopolis” on Cronenberg. There are a few bizarre, confusing cameos from the likes of Juliette Binoche, Samantha Morton and Jay Baruchel, though the most memorable performance comes from Oscar-nominated character actor Paul Giamatti, who chews on scenery in the final, intense moments, which provides the film’s really only worty moments, but it takes too long to get there. Cronenberg had likely intended this to be a satire on something, but nothing really works, including an uncomfortable scene with Pattinson getting a prostate exam inside the limo while talking to a co-worker. “Cosmopolis” has about as much excitement as that prostate exam, which should tell you to stay away from this film.

The Possession - C-

Rated PG-13, 91 minutes

“The Possession” a cheesy, silly Jewish version of “The Exorcist”

Jeffrey Dean Morgan

“The Possession” comes at an unfortunate time, at the end of summer when studios throw out movies they need to get rid of before the awards-heavy fall film season. In spite of a few decent scares and special effects, “The Possession” is a Jewish “Exorcist” ripoff that lacks any suspense or real empathy for its characters. After purchasing an old box (called a dibbuk) with a Hebrew inscription engraved on it at a yard sale, a young girl, Em (Natasha Calis) opens the box and then begins to exhibit bizarre and violent behavior. Em's behavior soon becomes more and more extreme. Fearing for their daughter, her recently divorced parents Clyde (Jeffrey Dean Morgan) and Stephanie Brenek (Kyra Sedgwick) make various attempts – from brain scans to consulting rabbis – to discover what the supernatural force behind the box is, what it wants, and how to keep it from destroying Em. Directed by Danish film director Olen Bornedal and co-produced by Sam Raimi, it’s inspired by a true story of a real dibbuk, which is essentially a haunted wine cabinet, said to be inhabited by a dybbuk, a spirit from Jewish folklore.  Sure, it sounds scary but too bad that suspense and creepiness didn’t make its way into the script, which is filled with silly, dumb horror film cliches (such as always walking into a dark room) and cardboard characters you don’t care about at all. There are a couple of decent jumps and special effects but overall the scares are lacking in “The Possession,” which is also unfortunate for noted filmmaker Raimi and one of my favorite actresses from the small screen, Sedgwick, not to mention Jewish folk singer Matisyahu who co-stars as a young rabbi who helps the family. “The Possession” is too predictable and somewhat laughable in the end; it may entertain and satisfy those looking for a good scare or two at the end of summer, but otherwise it’s not worth it.

Lawless - B+

Rated R, 115 minutes

"Lawless" is an intense, bloody ride thru Prohibition

Tom Hardy

The summer of 2012 ends with a bang with the new fact-based Prohibition crime drama "Lawless," a well-acted, cracking piece of history. Based on Matt Bondurant's novel "The Wettest County in the World" that's taken from his family's own tales, it tells the true story of the Bondurant brothers, Jack (Shia LeBeouf), Howard (Jason Clarke) and Forrest (Tom Hardy), successful bootleggers in Virginia during the Prohibition era. Their loyalty is threatened by outsiders wanting a piece of their profits, not to mention a ruthless lawman named Charlie Rakes (Guy Pearce), who could destroy them completely. Nominated for this year's Cannes Film Festival's highest award, the Palme d'Or, "Lawless" is a familiar crime tale that pops with energy, loads of intensity and violence, particularly in its blood-soaked finale. Though the story romanticizes and stylizes crime in a manner similar to "Bonnie and Clyde," giving it a well-worn feel, the film is well-cast and well-acted, with memorable turns by a gruff Hardy (Bane from "The Dark Knight") and scene-chewing Pearce ("Prometheus"). "Transformers" star LeBeouf grounds the film solidly, though he's upstaged by Hardy and Pearce, not to mention the lovely Jessica Chastain ("The Help") and ivory-faced Mia Wasikowska ("Alice in Wonderland") as the love interests. The underused Gary Oldman ("The Dark Knight") also appears but much too briefly as a gangster who provides help to the boys. If "Lawless" has an Australian flavor to it, it's because director John Hillcoat ("The Proposition"), screenwriter/singer Nick Cave and actors Pearce and Clarke are all Australian, but they handle this slice of Americana well, with the automobiles, costumes and set design all effectively evoking the Prohibition-era 1920s South. "Lawless" falters some as it attempts to close out on an overly sentimental, even elegiac note, but it's otherwise an entertaining, ardent crime tale definitely worth a look.

The Last Ride - C

Rated PG, 102 minutes

"The Last Ride" is a sluggish, bleak take on the Williams legend

Henry Thomas and Jesse James

There's no doubting that country music singer Hank Williams was a legend, though the film inspired by his final hours, the somber tale "The Last Ride," is far from memorable except for a strong turn from "E.T.'s" Henry Thomas. The film's story tells about a famous 1950's country music singer (Thomas) who hires a 19-year old (Jesse James) to drive him from Tennessee to Ohio and West Virginia for a couple of New Year's Eve shows. Struggling with his personal demons, the film tells about the mysterious final hours and their drive through the Appalachian country side. Slow-moving, odd but occasionally affecting, "The Last Ride" is an example of a film that would've worked far better in more skilled hands. Directed and produced by "Designing Women" creator Harry Thomason and filmed in Arkansas, "The Last Ride" should've been a powerful statement on the effects of fame and fortune, but ends up a stagnant, misguided tale. It's also odd the filmmakers chose to change the names, when it's obvious the film is closely based on Williams' final hours and his trek across several states with a young man named Charles Carr in a powder-blue Cadillac (nicely used here). Because of these changes, "The Last Ride" doesn't shed much light into the person of Hank Williams and tells us what we've known for many years (that he struggled considerably with substance abuse). Thomas is solid as the Williams-based character, and it's nice to see him tackle what seems to be a foolproof role, and he makes the best use of a script that falters to resonate. "The Last Ride" is best for Williams' fan base, though they might be baffled that they just didn't use his name in the film. Williams was such an indelible performer that it makes "The Last Ride" a disappointment on many levels for not capturing that. 

2 Days in New York - B

Rated R, 91 minutes

Delpy provides a sharp urban comedy with "2 Days in New York"

Julie Delpy

The new urban comedy "2 Days in New York" is a charming, smart effort from French actress Julie Delpy ("Before Sunrise"), who directs, writes and acts in the film, which a follow-up to her 2007 film "2 Days in Paris." Delpy is French photographer Marion living in New York City with her boyfriend Mingus (Chris Rock). Marion's French family, including her father (Delpy's real-life father Albert), her sister (Alexia Landeau) and her sister's boyfriend (Alexandre Nahon), which puts her relationship with her new boyfriend to the test. An intelligent, somewhat talky but charming comedy, "2 Days in New York" is a worthwhile comedy that often channels a less neurotic Woody Allen. Delpy's father Albert, also an actor, nearly steals the movie as her onscreen Dad, a jolly, unconventional old man who is more afraid to bathe than talk about sex. Delpy and Rock also have a nice, natural chemistry and it's nice to see Rock in a less manic, low-key yet more accessible role that shows he can act when not trying to be funny. Delpy is an adept director and even a better writer as she muses on the amusement that family and relationships provide. If you enjoy Woody Allen's New York-based comedies, then you're sure to enjoy the upbeat, winsome "2 Days in New York."