The Great Gatsby - C+

Rated PG-13, 143 minutes

Stylish yet uneven, this flawed "Gatsby" is good but not great

Carey Mulligan and Leonardo DiCaprio

The Good Gatsby. How about The Mediocre Gatsby or The OK Gatsby? With that said, the flawed new Baz Luhrmann version of the F. Scott Fitzgerald classic novel "The Great Gatsby" is an intriguing disappointment. Updated to appeal a new generation, the well-acted, handsome film is dripping with style and colorful visuals, yet it's also too long, uneven and dramatically hollow. Wide-eyed mid-westerner Nick Carraway (Tobey Maguire) comes to the glittery New York City with big dreams. Nick's neighbor is the mysterious, party-giving millionaire, Jay Gatsby (Leonardo DiCaprio), and across the bay from his cousin, Daisy (Carey Mulligan), with whom Jay shares a deep connection, and her philandering husband, Tom Buchanan (Joel Edgerton). With glittery disco balls, 3D, rap music and CG images galore, this mildly enjoyable but uneven version of "The Great Gatsby" is an interpretation to draw a younger crowd, and while some of Luhrmann's "Moulin Rouge"-esque contemporary touches work, it still fails to capture the depth and passion of Fitzgerald's literary magnum opus. Luhrmann has a fantastically lavish approach, perfectly capturing the essence of the 1920s with some peppy, first-rate visuals, costumes and sets, though his addition of some contemporary music is a minor distraction (particularly Beyonce's "Crazy in Love"), and will certainly cause Fitzgerald purists to cry foul. It is also well-cast, with DiCaprio and Mulligan making for a fine pair of tragic lovers, and Maguire also just as strong as Carraway (and some might even say this is more his film than DiCaprio's). While he has the style down perfectly, especially in the initial sections, Luhrmann's storytelling is dramatically weak and lacks the intensity of the visuals in a faithful but never-ending third act that goes on much too long. This opulently vapid version of "The Great Gatsby" is good but not as great as it could've been: entertaining and more accessible than its cinematic predecessors, but about 25 minutes too long and lacking a strong emotional core. The intriguing Luhrmann is always worth a look, though in this case style wins out over substance. 

Wes's Grade: C+

Tyler Perry Presents Peeples - C-

Rated PG-13, 95 minutes

Robinson is the best part of routine dysfunctional family comedy "Peeples"

Kerry Washington, Craig Robinson and David Alan Grier

Craig Robinson of TV's "The Office" is an underused, underrated and naturally likable comedian, so his transition to the big screen comes as no surprise. Without him, the predictable, thin and wildly unrealtistic (Kerry Washington with Craig Robinson? C'mon...) new comedy "Peeples," essentially a black "Meet the Parents," would be much worse than it is. Sparks fly in the Hamptons when "regular guy" Wade Walker (Robinson) crashes the preppy Peeples family reunion to ask his girlfriend Grace (Kerry Washington) to marry him. Little does he know that this dysfunctional family, led by Grace's stern father Virgil (David Alan Grier), have more secrets they can handle. The uneven but effusive "Peeples" is essentially a one-joke movie yet infused with a load of charm thanks to Robinson and a tremendously appealing cast. Directed and co-written by "ATL" and "Drumline" screenwriter Tina Gordon Chism and co-produced by Tyler Perry (thus the "Tyler Perry Presents" tagline) the best thing about it is that Robinson is so likable and Perry doesn't direct or write here, or we'd end up with "Madea-in-the-Hamptons." Though "Peeples" is a slight notch above Madea in terms of quality, its broad "Meet the Parents"-style premise is too familiar and the gags are just too easy, most falling flat and ending up with a messy, mildly entertaining movie. It also scratches the surface of some serious issues (such as substance abuse, sexuality, theft and more) which are made fun of but never really dealt with. Grier, inhabiting the DeNiro "Parents" role, is serviceable but underused, while Washington and S. Epatha Merkerson (of "Law & Order") are lovely as ever; most memorable are the fun cameos from the still beautiful Diahann Carroll and the still crotchety Melvin Van Peebles as the grandparents. The best moments of "Peeples" come from the few moments that Robinson is allowed to casually riff on the situation at hand, which doesn't happen near enough. I look forward to what the genuinely funny Robinson can do with better material than the incoherent, but sporadically (make that very sporadically) funny "Peeples." The Perry association may make this a modest hit with his audiences, but otherwise skip this lame effort.

Wes's Grade: C-

Renoir - B-

Rated R, 111 minutes
In French with English subtitles

"Renoir" is a lush but vapid romantic tale of two artists and their muse

Michael Bouquet as Pierre-Auguste Renoir

If you're familiar with the works of Impressionist painter Pierre Auguste-Renoir, you know what a vibrancy the celebrated artist had in capturing much of the feminine sensuality. The lovely but thin new French drama "Renoir," based on a portion of the artist's life, lacks that same sense of vibrancy, though it does capture some beautiful, lush romantic images. It tells the true story of the painter Renoir (Michael Bouquet) who meets the ravishing lady who would be his final model, Andrée Heuschling (Christa Theret), not to mention his daughter-in-law, who falls in love with his son Jean (Vincent Rottiers) who himself would become a famous filmmaker. Heuschling would be not only a muse for them both but a link between two great artists who happened to be father and son. From director Gilles Bourdos, the slow-moving, character-driven drama has little insight into two great artists, but it does provide a sensuous (and little-known) portrait of their muse. The well-made, glossy "Renoir" is handsomely photographed and elegantly scored, which adds a lovely texture to the film, which isn't revelatory but much like the elder Renoir's paintings, gives us something lovely to gaze upon. If you're a fan of either Renoir, this alluring film would come as something you should see, but you'll leave with nothing more than when you entered the film. Worth a look even if it doesn't do much.

Wes's Grade: B-

Angels Share - B

Unrated, 106 minutes
 
Downbeat but engaging "Angels' Share" mines familiar working class theme

The crowd-pleasing British film "Angels' Share" won the Jury Prize at the 2012 Cannes Film Festival and it's easy to see why. The Ken Loach dramedy about some working class misfits with a knack for the flavor of pricey liquor, is engaging with a sheen of realism that pervades most of veteran filmmaker Loach's films. Though overly familiar and somewhat downbeat, "Angels' Share" has enough appeal for those who enjoy an underdog story. It tells the story of a young Glaswegian father and thug Robbie (Paul Brannigan), under the guidance of community-service leader Harry (John Henshaw), is introduced to the distribution and selling of high-priced whiskey, something that could lead to a new life for he and his new community-service payback friends. Veteran moviemaker Loach, best known for his 2006 war film "The Wind That Shakes the Barley," helms the likable yet routine film about the working class, something he's familiar with his other films such as "Sweet Sixteen" (2002) and "Bread and Roses" (2000). The working class theme is prevalent yet so familiar that it often seems predictable and at times depressing, but it's also peppered with a few affecting, poignant moments, and newcomer Brannigan, a young Scottish actor, grounds the film with warmth. The climax and ending is a bit calculated, you have a sense of where this will end up, but it's often fun getting there. Well-acted, directed though redundant, the appealing dramedy "Angels' Share" (named after a term that refers to the disappearing vapors of fermenting liquor) is worth a look.

Wes's Grade: B

Kon-Tiki - A-

Rated PG-13, 105 minutes

Handsome "Kon-Tiki" a sublime look at a remarkable, true journey

Kon-Tiki

The Norwegian-made "Kon-Tiki" is one of those rare, impeccably made, handsome photographed action adventure stories that really is true. Based on the landmark Kon-Tiki exploration, it's a beautiful, though often harrowing look at a trip that made waves at the time. Norwegian explorer Thor Heyerdahl (played by Norwegian actor Pål Sverre Valheim Hagen) crossed the Pacific ocean in a balsa wood raft in 1947, together with five men, to prove that South Americans already back in pre-Columbian times could have crossed the sea and settle on Polynesian islands; their epic 101 day-long journey across 5,000 miles set the standard for trips such as this. Nominated for the Best Foreign Film Oscar this year and filmed on location in the Pacific Ocean, "Kon-Tiki" is an authentic, though dramatized look at the groundbreaking 1947 Kon-Tiki exploration. Masterfully directed by Norway's Joachim Rønning ("Bandidas"), with sublime photography, visuals, sound and a nice level of intensity, "Kon-Tiki" is a must-see film, not only for historians but for those who love a good (and true) yarn such as this. Though some dramatic liberties have been taken with the story, "Kon-Tiki" is still a sharp look at how the crew was affected by their elements from day one. Their scary run-ins with sharks may remind of "Jaws," but "Kon-Tiki" isn't a horror film (though certainly some of their situations were horrific), but a triumph of the human spirit. On that level, it can seem awfully familiar and even anti-climactic especially for those who know how it turned out, but the enjoyable "Kon-Tiki" is a satisfying adventure, its poignancy underscored by the fact it's a true story. Interestingly, while this film version did not win an Oscar (and it probably should've), the same-named 1951 documentary did win for Best Documentary. Definitely worth seeing.

NOTE: This is the review for the dubbed, re-edited English version and not the original Norwegian version.

Wes's Grade: A-

Iron Man 3 - B

Rated PG-13, 130 minutes

Robert Downey Jr. and Don Cheadle

Action highlights the muddled but slick "Iron Man 3"

Without giving away any spoilers for the latest superhero installment "Iron Man 3" I will say it doesn't disappoint. Robert Downey Jr. is in great, cheeky-cool form, there's loads of action and special effects galore. It's certainly better than the lackluster second installment though not all of it works perfectly and some of it even seems very ho-hum routine and just another day at the superhero office. The entertaining "Iron Man 3" is a sure-fire crowd-pleaser, with the man in the iron suit back in fine, if not predictable and routine, form. Arguably the coolest, most likable and the most human of the superheroes, mainly due to the brash confidence of Downey, "Iron Man 3" is directed and co-written by Shane Black, who directed Downey in "Kiss Kiss Bang Bang" years ago and taking over for Jon Favreau (who produces and co-stars this time out), is actually more of a follow-up to last summer's giant blockbuster "The Avengers," which featured Iron Man, in that it picks up in the months following that film. In this outing, he faces a couple of powerful enemies, the Mandarin (Ben Kingsley) and scientist Aldrich Killian (Guy Pearce), both of whom could be behind a dastardly terrorist plot involving former U.S. soldiers. Back for the action are his trusted assistant and lover Pepper Potts (the always lovely Gwyneth Paltrow), pal Rhodey (Don Cheadle) and his bodyguard/head of security, Happy (Favreau). The first act is a little slow as it works through some Stark backstory, until it picks up some pep in the second act and doesn't let go with the thrilling climax involving more than one Iron Man. On the downside, the storytelling and script are a bit messy, but Downey can throw out some brilliant one-liners, usually in the midst of battle, and I like some added human elements (such as panic attacks) to the Stark persona. Kingsley plays a comic foil well (if I told you why that would give away too much) and Pearce is a serviceable villain, though in playing with plot calculations, his fate seems pre-ordained in the first few frames. "Iron Man 3," even with its flaws, won't disappoint fan boys and the rest of us who enjoy a decent action adventure/fantasy film. Slick, well-made, entertaining, with Downey and Paltrow in great form, you can overlook the film's slow points and the somewhat muddled story. Definitely worth a look if you enjoy this type of thing, and yes, stay over a humorous end-of-credits scene involving another Avenger.

Wes's Grade: B

The Reluctant Fundamentalist - B

Rated R, 128 minutes

"The Reluctant Fundamentalist" a plodding, intriguing look at changing ideologies

Kate Hudson and Riz Ahmed

The new film "The Reluctant Fundamentalist" is an absorbing, well-acted drama from Mira Nair ("Vanity Fair") with a slow pace that provides a different look at how our world has changed in recent years. A young Pakistani man named Changez (British actor Riz Ahmed), graduates from Princeton, and climbs the Wall Street corporate ladder. After 9/11, views and perceptions change considerably for Changez, even though he still has a great job and a beautiful girlfriend (Kate Hudson), and as his life takes him back to Pakistan, he finds himself in a dangerous, life-threatening situation with a colleague (Liev Schreiber). Based on the 2007 Mohsin Hamid novel of the same name, Nair's slow-moving but captivating drama is more character piece than action film, though its climax certainly veers toward the tense side; it'd an otherwise alluring portrait of having the best of two worlds. Nair is an accomplished director of character-driven pieces such as this, and it shows in the engaging performances from British rapper Ahmed, who grounds the film well, and Hudson, in smaller but pivotal role that provides her strongest turn in years and something much different than the dreadful romantic comedies she's been pegged to. Schreiber and Kiefer Sutherland are also memorable in supporting roles. As with some of Nair's previous films, the plotting tends to meander at times, and it's about 15 minutes too long, not to mention considerable changes have been made from the novel. Even with its flaws, "The Reluctant Fundamentalist" is a handsome, thoughtful drama with a mesmerizing Indian-flavored score that compliments Nair's assured direction. Worth a look.

Wes's Grade: B