Madea's Witness Protection - D

Rated PG-13, 114 minutes

"Madea's Witness Protection" shows Perry at his worst

Tyler Perry as Madea

"Madea's Witness Protection" is a first for several reasons. It's the first Tyler Perry and Madea movie to be released in the summer. It's also the first Madea film not based on a play. It also happens to be one of Perry's worst in some time, which isn't saying a lot given his track record of popcorn films strictly made for his following. Madea's always good for a laugh or two but this is otherwise a badly executed, painfully unfunny vehicle that shows Perry's flaws as a filmmaker. This one is about George Needleman (Eugene Levy), a clueless executive of an investment firm who is shocked to learn that his firm has been operating a mob-backed Ponzi scheme, and that he's been set up as the fall guy. Facing criminal charges and death threats from the mob, George and his entire family are put under witness protection in the safest place that federal prosecutor Brian (Tyler Perry), can think of: his Aunt Madea's (also Perry) house down South. If you think you know where "Madea's Witness Protection" is going, well you're right and you're wise to avoid this unpleasant, woefully unfunny movie. Perry gives himself the best scenes and the best lines as the over-the-top Madea, played in his usual very broad comedic style. You'd think that talented, award-winning actors like Levy and Doris Roberts (as George's mother) would shine above the material, but they're wasted here, and any film relying on Denise Richards and Tom Arnold (you read that right) for laughs is in deep trouble. The sloppy, listless "Madea's Witness Protection" blurs the line between unfunny and just plain unwatchable (and seems very rushed given how bad the scenes look); this only shows that the talented Perry is also very smart by releasing a Madea movie in the summer. Madea's now his cash cow for all seasons. A huge disappointment even by Perry's standards.

People Like Us - B+

Rated PG-13, 110 minutes

"People Like Us" a sincere, touching portrait of being family

Chris Pine and Elizabeth Banks

There are times we love our family and other times not so much, especially when mistakes are involved. "People Like Us" is a genuinely moving portrait of the complexities of family relationships. The film stars Chris Pine ("Star Trek") as Sam, a twenty-something, fast-talking salesman, whose life begins to unravel when his estranged father dies after an illness. He goes home to help his distant mother (Michelle Pfeiffer) manage his father's estate and in the process uncovers a startling secret. He has a 30-year-old sister Frankie whom he never knew about (Elizabeth Banks). As their relationship develops, Sam is forced to re-examine his family relationships and own life choices in the process. The new dramedy "People Like Us" is a poignant, superbly acted look at the ups and downs that families go through. The film is an auspicious debut of producer and screenwriter Alex Kurtzman ("Star Trek," "The Proposal"). Kurtzman, whose known more for action movies and who also writes this film, has a remarkable insight into sincere human emotion, garnering excellent performances from the leads. While Pine is solid, it's both Banks and Pfeiffer (who interestingly don't share any scenes together) who are pitch-perfect in Oscar-worthy roles as Mom's who have to make/have made some difficult decisions. Pfeiffer in particular is a standout in a supporting role who has the film's most touching scene with Pine. Even with that, "People Like Us" isn't perfect. It falters somewhat when it veers off into a couple of unnecessary subplots about Sam's work and it takes much too long for him to finally say what he has to say, but for the most part the film works remarkably well. The memorable, energetic music by Oscar-winning composer A.R. Rahman ("Slumdog Millionaire") also adds some enjoyment to what could've been a very maudlin subject matter. The last act is its most touching, and you'll want to have tissues handy when they get out the old home movies in the film's final scene.  Much like family, "People Like Us" isn't perfect, but it's a sincere, stirring look at the importance of family, however shape and form that takes. Definitely worth a look.

Ted - B-

Rated R, 106 minutes

Ted and Mark Wahlberg

Raunchy & enjoyable "Ted" also has heart

Do teddy bears have real heart? Maybe not in real life, but in the new comedic fantasy, "Ted," they sure do. Directed, written by and co-starring "Family Guy" star and creator Seth MacFarlane, the busy but entertaining "Ted" seemingly appeals to the lowest common denominator, and those who enjoy filthy, offensive comedy will get a kick out of it. Yet there's a decent message behind all the familiar schtick that MacFarlane and company throw at you - and what you've heard is true - the teddy bear is cute, cuddly and very foul-mouthed (and not for kids). John Bennett (Mark Wahlberg) is a perfectly normal Boston native whose childhood wish for his teddy bear to come to life comes true. The bear, Ted (voiced by MacFarlane), who has become famous in the process, remains his best friend into his adult years. Conflict emerges when Ted's irresponsible and vulgar, slacker lifestyle comes in the way of John's attempt to embrace adulthood and his love-interest Lori (Mila Kunis). MacFarlane, whose off-color, somewhat mean-spirited humor has served him well with "Family Guy," "American Dad" and other TV shows, makes his big screen debut as director and writer of the guilty-pleasure, exceedingly raunchy and predictable "Ted," which also provides more laughs and warmth than you may admit to. On the upside, there's plenty of laughs, quick wit and a surprising amount of poignancy to it. On the downside, the film has a sitcomy-"Family Guy" formula to it, unsurprising given MacFarlane's past TV experience, and often it seems that Brian the dog has been reincarnated as a big-screen, drug-addicted and lazy teddy bear. MacFarlane also brings some of his "Family Guy" actors to "Ted," including Kunis (who voices Meg on the show) as one of the leads, who makes an altogether pretty couple with Wahlberg, both of whom have a good time here.  I'd like to see MacFarlane branch out to other areas of comedy, but he knows his formula and he sticks to it well, such as throwing out plenty of pop-culture references he's known for, including amusing cameos from the '80s version of "Flash Gordon" Sam Jones, who is (still) remarkably recognizable as well as Ryan Reynolds and singer Norah Jones. With MacFarlane doing duty as director, producer, writer and voice of "Ted," it comes as no surprise that the teddy bear has the best lines, most of which aren't printable here. The last act of "Ted" is its weakest: you know where it's going, though it's best if you just go with it and forget you're watching a talking teddy bear. "Ted" is far from dull and enjoyably raunchy but certainly not for the younger set.

Magic Mike - C+

Rated R, 110 minutes

Firm bods, flimsy story highlight the uneven "Magic Mike"

Channing Tatum and Alex Pettyfer in "Magic Mike"

The G-strings in the new male stripper film "Magic Mike" hold up plenty, except for the weak story that drags down an otherwise charming, beefcake-filled and estrogen-geared flick. "Magic Mike" is directed by Oscar-winning director in Steven Soderbergh and is loosely based on the life of actor Channing Tatum ("The Vow"), who headlines the film. The movie follows Mike (Tatum) as he takes a young, inexperienced dancer off the streets named Adam the Kid (Pettyfer) under his wing and schools him in the fine arts of partying, picking up women, and making easy money. Story? Characters? Not so much here but one thing is for sure, there's plenty of eye candy in the uneven but pleasant "Magic Mike," which is likely enough for most. Besides Tatum and Pettyfer, Matthew McConaughey appears as the strip club owner, aptly named Dallas, along with Matt Bomer, William Levy and "True Blood's" Joe Manganiello. However, no pun intended (well, maybe), when you strip away the beefcake, there's little meat to the plot or characters, which may not come as a huge surprise. The film's initial sections work best and the most fun, as Mike (with some interesting help from McConaughey, in the film's best scene) schools young Adam on the fine art of stripping, before it meanders in the darker, drug-fueled second half and leading to an unsatisfying ending. Soderbergh is typically a strong director, but with "Magic Mike" his direction is merely serviceable though the thin material may be the real problem. While he handles the actors well, with Tatum in particular giving one of his stronger, least bland performances to date, he falters in bringing the story to a satisfying conclusion but in his favor the film would've been a lot worse with an inexperienced director. I did want to see more of the women, especially the lovely Olivia Munn ("Iron Man 2"), but she and Cody Horn are (perhaps understandably) underused here. "Magic Mike" does a memorable striptease on the surface, though it falters in bringing to light what's really underneath. Worth it if you like this sort of thing.

Seeking A Friend for the End of the World - C

Rated R, 101 minutes

Sweet but uneven "Seeking a Friend for the End of the World" comes up short

Keira Knightley and Steve Carrell

"Seeking a Friend for the End of the World" is an unsatisfying, oddlyl amusing look at lonely people trying to find love at the last minute, seemingly Earth's last minute. Directed by Lorene Scafaria (screenwriter for the fun "Nick and Nora's Infinite Playlist") in her feature debut, it's a rather bizarre mix of comedy and drama: the film's tone starts out rather depressing then turns into an overly sentimental tale of lost love. Set in a too-near future, the movie explores what people will do when humanity's last days are at hand. When news breaks that a laser, sent to space to protect Earth from an asteroid impact has failed at its mission, Dodge (Steve Carrell) hits the road in search of his high school sweetheart, accompanied by Penny (Keira Knightley) As the respective journeys of Dodge and Penny converge, the two spark to each other and their outlooks - if not the world's - brighten. "Seeking a Friend for the End of the World" is a sweet but sloppy tale that almost wins you over from the engagingly pensive turns of Carrell and Knightley and without them the movie would be much worse than it is. There are a handful of genuinely funny, touching moments, but by and large this is a flavorless tale that's as memorable as a can of Tab. Scafaria's debut as a director shows in the inability to effectively stage scenes, not to mention a big emotional payoff; yet the fact that "Seeking a Friend" has enough caring moments that it isn't a total failure means that she has a future behind the camera. "Seeking a Friend for the End of the World" has a handful of sweet moments, but you won't remember much after it all ends.

Brave - B-

Rated PG, 93 minutes

Uneven but exciting "Brave" features colorful, sublime visuals

"Brave" is the first Pixar feature to have a female lead

It wouldn't be summer without a Pixar movie, and their new effort "Brave," their 13th animated CG film and for the first time featuring a female in the lead, finally arrives in theaters with much anticipation. Pixar is known for creating animated films with a balance of stunning visuals and heartfelt storytelling, but "Brave" is not on the same level of say "Up" or "Toy Story"; it has breathtaking visuals yet a weak, craggy story that flounders a bit. It's not terrible, but I do wish a more touching story could have been crafted around such a beautiful, distinctive heroine. "Brave" is about Merida (Kelly MacDonald), a skilled archer and impetuous daughter of Scottish King Fergus (Billy Connolly) and Queen Elinor (Emma Thompson). Determined to carve her own path in life, Merida defies an age-old custom sacred to the uproarious lords of the land: finding a suitor. Merida's stubborn actions inadvertently unleash chaos and fury in the kingdom, and when she turns to an eccentric old Witch (Julie Walters) for help, she is granted an ill-fated wish. This forces Merida to discover the meaning of true bravery in order to undo a beastly curse before it's too late. "Brave" is an enjoyable, sprightly amusing fairy tale with a charming, tough heroine in bushy-haired Merida, yet the story, for once, is the weakest thing about this Pixar effort. Though it's far from dull, the uneven tone has trouble finding its footing between spry, comical amusement and the dark elements of the fairy tale; "Brave's" assortment of writers and change in directors (Brenda Chapman directed some early one but was replaced midway through by Mark Andrews, and both are credited as co-directors and writers) certainly contribute to the uneven pacing. "Brave" doesn't lack in excitement or fun, and the visuals are still scrumptiously bright and detailed, even if the story lacks the intelligence and emotional heft of other Pixar features. On that note, it may be a disappointment, but "Brave" is still a pleasant, enjoyable time for the young set.

Your Sister's Sister - B

Rated R, 90 minutes

Unconventional but affecting "Your Sister's Sister"

Mark Duplass, Emily Blunt and Rosemarie DeWitt

"Your Sister's Sister" is definitely not your typical romantic comedy. Touching, unconventional and well-acted, it's also a talky, low-key character study from director Lynn Shelton ("Humpday") and starring Emily Blunt, Mark Duplass and Rosmarie DeWitt.  Duplass (also seen in the hilarious "Safety Not Guaranteed" in current release) is Jack, still emotionally fragile following his brother's death a year ago. His brother's former girlfriend Iris (Blunt) sends him off for "alone time" to her Dad's lake house. However, when he gets there, he discovers Iris' older sister Hannah (DeWitt) is also there and nursing a wounded heart with a bottle of tequila. A drunken night leads to a regrettable intimate encounter, but they're quite surprised when Iris, who also may have feelings for Jack, arrives the following morning and unravels an unexpected triangle. Writer and director Shelton has created an amusing, heartfelt story in "Your Sister's Sister" (technically half-sisters but "Your Sister's Half Sister" doesn't have that same ring to it) with an uncommon premise that's told in a very straightforward fashion. The film is essentially a three-person, three-act play; its stagey formatting nearly works against it in "Truth or Consequences" fashion but this is a perfect example of how talented actors bring the story to life and connect the audience to the film. All three actors play off each other beautifully and make the characters more palpable than even Shelton had likely imagined; Duplass is the standout with a believable portrayal of an emotionally wounded slacker who needs to deal with his life; DeWitt is also superb as the older, cynical lesbian sister with a motive, while Blunt anchors the film memorably as the sister caught in the middle. With that said, the strong performances are the highlight of "Your Sister's Sister," a flawed but satisfying (except for the cliffhanger ending that leaves you wanting more) and sincere tribute to the weird, unplanned things in life.