Pain and Gain - B

Rated R, 129 minutes

Darkly entertaining, overlong "Pain and Gain" is the American Dream on steroids

The Rock, Mark Wahlberg, Anthony Mackie

Some stories are so over-the-top it's hard to believe they're true. That's the approach taken by the entertaining "Pain and Gain," that's part true crime story and part dark comedy. Directed by Michael Bay, it has an overly familiar "Bad Boys" vibe that's much too drawn out, but nonetheless it's an engaging tale. Miami bodybuilders Daniel Lugo (Mark Wahlberg), Adrian Doorbal (Anthony Mackie) and Paul Delgado (Dewayne "The Rock" Johnson) decide to take the American dream to the next level when they kidnap a despicable millionaire (Tony Shaloub) and take everything he has. Known as the Sun Gym Gang, the trio have considerable brawn and little brains, they soon find their world crumbling when a smart detective (Ed Harris) starts tracking them. "Pain and Gain" is a well-acted, dark tale of crime and a satisfying character piece that's mostly played for laughs, much of it at the expense of these lame-brained criminals, who were eventually caught and imprisoned for their crimes. Based on a true story out of Florida in the 1990s, it's one of those your-not-gonna-believe-it-but-it's true kinda stories that filmmakers love to make, with little room to embellish. Though drawn out at about 20 minutes too long, Bay and company provide some funny along with some excruciatingly brutal moments (dismemberment among them) to keep the film moving along with some energy. All three leads, particularly The Rock, are believable, though it's the stellar supporting cast who (no pun intended) steal this show. "Monk's" Shaloub is particularly memorable as the vile rich guy they kidnap, as is comedian Rob Corddry and "Pitch Perfect's" Rebel Wilson, as the gym manager and the wife of one of the criminals, respectively. Ed Harris is also strong but underused as a likable real-life detective named Ed DuBois, who interestingly in real life has capitalized on his own fame (also a musician, he wrote and performs a song called "Pain and Gain - Retribution Song" on his website). With an overlong midsection that could've certainly been shaped up in the editing room, "Pain and Gain" is a fun, darkly shaded character piece speaking to the American Dream on steroids. Worth a look.

Wes's Grade: B

Mud - B

Rated PG-13, 131 minutes

"Mud" is a plodding but affecting coming-of-age story

Matthew McConaughey

"Mud" continues the creative reemergence of Matthew McConaughey in an overlong yet well-acted, sensitive contemporary coming-of-age story set in the South. McConaughey plays the title role, a fugitive living on an island in rural Arkansas, who befriends two young teenage boys Ellis and Neckbone (newcomers Tye Sheridan and Jacob Lofland, respectively). The two boys are reluctant and unsure of Mud's travails yet are eventually drawn into a tale of love and crime as they try to reunite Mud with his soul mate Juniper (Reese Witherspoon) which help them learn about what is most important in life. Directed and written by Jeff Nichols (2011's underrated thriller "Take Shelter"), "Mud" is an emotionally satisfying story that is helped by Nichols sure direction and the steady performances of McConaughey and the boys. The sluggishness of the second act is problematic, and some themes are touched upon and never fully explored, particularly the relationship between McConaughey and Witherspoon's characters (and those expecting chemistry from the two will be disappointed, though they play romantic partners they're never onscreen together), but overall it's a masterful look at two boys who learn life's lessons the hard way. Sheridan, in only his second film, is particularly good, and Lofland, in his feature film debut, steals some scenes from McConaughey, in a remarkably low-key but moving turn that shows his growth as an actor. Nichols should also have a solid future in films if he continues on a steady course such as this. "Mud" is a well-acted, entertaining and often thoughtful coming-of-age film that's worth your time.

Wes's Grade: B

Arthur Newman - B-

Rated R, 97 minutes

Well-worn "Arthur Newman" proves that fresh starts are OK

Emily Blunt and Colin Firth

Sometimes a fresh start or a new identity is good for you, a theme championed by the familiar but pleasant new dramedy "Arthur Newman," about a man who reinvents himself in hopes to discover something new. Oscar-winner Colin Firth is Wallace Avery, a divorced, depressed and lonely man unable to connect with his young son (Sterling Beaumon), friends (Anne Heche) or just about anyone. He buys a new identity, a new car and heads off to Indiana to begin a new job as a golf pro. Things change when he runs into an unstable young woman named Michaela, or Mike (Emily Blunt), with issues of her own. As romance blossoms, they must let go and accept responsibility for who they really are. Part romantic comedy and part buddy road trip movie, the likable "Arthur Newman" is a well-worn tale of love and starting over, thinly plotted and underwritten but made better by the charming pairing of Firth (in a surprisingly low-key role following his Oscar win) and the effervescent Blunt. Directed by newcomer Dante Ariola and written by Becky Johnston ("Seven Years in Tibet"), it's also a bit baffling why Wallace would need a new identity when he can start a new life without it. After a saggy mid-section and a calculated finale, "Arthur Newman" works and you believe in the characters due to the charming pairing of Blunt and Firth, and for that reason it's worth a look.

Wes's Grade: B-

The Big Wedding - C

Rated R, 89 minutes

Thin but predictable "Wedding" blandly channels family dysfunction

Robert DeNiro and Katherine Heigl

If you enjoy seeing people cry, break up and wear lots of beige, pastels and floral prints, then the cute but flimy new all-star family dysfunction comedy "The Big Wedding" is for you. Robert DeNiro and Diane Keaton have long been divorced but on good terms; Susan Sarandon is DeNiro's current love and Keaton's best friend (of course), while Katherine Heigl, Topher Grace and Ben Barnes are their children, trying to stay in perfect form for Barnes' wedding to Amanda Seyfried. Throw in Robin Williams as the priest who marries them and the whole sha-bang might go to hell. "The Big Wedding" is as bland as those beige clothes, directed and written by Justin Zackham, who wrote the equally maudlin "Bucket List," balances the schmaltz and humor, some of it well-timed, while the plot is woefully thin and some scenes go on too long. The pretty cast do their best though to help you make it through the big day, and many are indeed charming. Keaton and Heigl are remarkably less shrill, DeNiro suitably gruff, Grace and Barnes bland while the movie truly belongs to the radiant Sarandon, who much like she did in the recent Robert Redford thriller "The Company You Keep," is the most memorable (though underwritten) part of a mediocre ensemble. The pleasantly entertaining "The Big Wedding" does its job and it's not a terrible film, but it lacks purpose and could've been much better: see DeNiro's "Silver Linings Playbook" for good measure.

Wes's Grade: C

Starbuck - B

Rated R, 108 minutes
In French with English subtitles

"Starbuck" a predictable but amusing portrait of parenting

Patrick Huard

Some people complain about the burden of parenting. Try having 533 children. That's the premise of the enjoyable new French Canadian comedy "Starbuck," a charmingly wacky yet calculated look at how parenthood can really, really change you. David Wosniak (Patrick Huard), a 42-year old lovable but perpetual screw up who finally decides to take control of his life. A habitual sperm donor in his youth, he discovers that he's the biological father of 533 children, 142 of whom are trying to force the fertility clinic to reveal the true identity of the prolific donor code-named Starbuck. "Starbuck" is the hit 2011 Canadian film directed and written by Ken Scott just now getting a wide release in the U.S. French Canadian actor Huard is a witty delight in the title role, as the screw up who realizes his worth as a parent and human being. Things get sticky, no pun intended, when his girlfriend Valerie (Julie LeBreton), becomes pregnant (yes, that would be 534 children). Based on the charms of Huard, it's easy to see how the film became such a big hit, given how thin and predictable the storyline is and when some of the main character's motivations, good or bad, aren't fully explained, particularly in the final act. The film is such a big hit that director Scott is remaking a U.S. version with Steven Spielberg and Vince Vaughn called "The Delivery Man," which will likely be as wacky as this. For now, you can go see the French Canadian version, the utterly pleasant and enjoyable "Starbuck."

Wes's Grade: B

The Company You Keep - C+

Rated R, 125 minutes

"The Company You Keep" is a tense yet miscast thriller 

Shia LeBeouf and Chris Cooper

Bart Simpson had a saying: "I never thought this was humanly possible, but this both sucks and blows." Though the tense new Robert Redford thriller "The Company You Keep" isn't by any means terrible, though its casting is its most impressive attribute and its biggest flaw. A tad too long yet peppered with some suspenseful moments, some of it works and other times it doesn't. A wanted man and former member of the revolutionary militant group the Weather Underground (Redford, starring and directing) goes on the run after a journalist (Shia LaBeouf) outs him in this political thriller based on Neil Gordon's 2003 novel of the same name. "The Company You Keep" is a serviceable spy-hide-in-plain-sight thriller, with solid footing and direction, but hampered by its miscasting. Redford's first mistake was casting himself in the title role and there's just no way around saying this: he's just too old for the role and it's particularly a stretch to believe he has a young child. And while it's nice seeing him paired with the still radiant Julie Christie, she is also too old, as is the usually gruff Nick Nolte, both playing former colleagues. The rest of the star-studded cast performs well; LeBeouf is solid, as is Susan Sarandon, Brit Marling, Chris Cooper and Terrence Howard (Cooper in particular would've been a better fit in Redford's role). Richard Jenkins, Anna Kendrick, Stephen Root, Brendan Gleeson and Sam Elliott round out the impressive cast, though it can be a tad distracting with a name actor popping up in every other role. "The Company You Keep" is a decent but flawed spy thriller and the Redford mystique may draw some in, but it's otherwise a disappointment for that reason.

Wes's Grade: C+

Filly Brown - B-

Rated R, 101 minutes

"Filly Brown" is a familiar but gritty, well-acted tale

Gina Rodriguez

Regardless of the situation, it's always fulfilling to root for the underdog, and the routine but moving new drama "Filly Brown" has as much sass and heart as its title character. Majo Tonorio (TV actress Gina Rodriguez), a.k.a. "Filly Brown," is a raw, young Los Angeles hip-hop artist who spits rhymes from the heart. With an incarcerated mother (the late Jenni Rivera), and a father (Lou Diamond Phillips) struggling to provide for his daughters, a record contract could be the ticket out for her family. Co-directed by Michael D. Olmos and Youssef Delara and written by Delara, the film is essentially the Latino version of "8 Mile," with Latino TV actress (not the porn star) Rodriguez of "The Bold and The Beautiful" and "Army Wives" giving a heartfelt, breakout performance as the title character, a pretty Mexican girl whose rhymes are the result of the setbacks she's had. It's nice seeing Phillips and Edward James Olmos, whose son co-directed the film, together again in a mini 25 year "Stand and Deliver" reunion, though many may flock to the film to see the late singer Rivera in one of her last roles as Filly's drug addicted, incarcerated mother. It's a small but pivotal role and Rivera plays against type from her wholesome pop singer personality. However, it's Rodriguez, a non-musician who learned how to rap and sing for the role, who is the most memorable. On that note, the film is best when it focuses on the music, though there are a few rough scenes that poignantly detail the Latino experience. Independently produced, "Filly Brown," though overly familiar and too predictable in its final act, is a moving, entertaining underdog film with a nice breakout performance from its lead. Worth a look.

Wes's Grade: B-