Creed - 3 smiles

You can’t deny that “Creed” is a crowd-pleasing movie.  It’s also the same old same old. A young boxer with something to prove teams up with a veteran trainer and signs up for the fight of his life against the reigning world champ who looks all set to destroy our spunky hero. This is the original Rocky and also “Creed,” the seventh in the series. In recent years, Stallone hasn’t so much acted in movies as appear in them, playing a plastic version of himself.  He hasn’t given a genuine performance in a long time. “Creed” suggests that Stallone simply needed to be inspired, which is probably why he agreed to appear in a movie he neither wrote nor directed. Director Ryan Coogler, who also co-wrote “Creed,” understands what makes Rocky connect so strongly with audiences – despite his personal accomplishments, Rocky is a tragic figure. He has been pummeled by loss in his personal life, but he finds a way to keep going, refusing to succumb to self-pity and depression. Stallone captures these facets of his character in “Creed,” keeping Rocky’s charisma and charm front and center. When Adonis shows up, Rocky isn’t interested. He’s content managing his restaurant and living an uncomplicated life. But Adonis doesn’t give up and this brash, good-hearted kid reminds him of his younger self. However, the movie belongs to Jordan. He has great physicality and he radiates warmth and compassion and drive that push Adonis, humanizing him as a result.

The performances alone would have been enough, but Coogler pushes further, choosing to shoot an entire boxing match from start to finish without a single cut. During one training montage, Stallone tries to keep pace with Jordan at the speed bag, can’t keep up and walks out of the frame, smiling. Another director would have cut the shot, but Coogler leaves it in. As for the movie’s big signature moments, Coogler surprises you by what he chooses to avoid and what he embraces. At one point in the film, Adonis reprises Rocky’s iconic training run through Philadelphia as passers-by look and root him on, except Coogler reimagines it in a way that’s magical and elevating. It’s a little corny, but you don’t care. Jordan is carrying movie history on his shoulders as he runs through the city and he makes the burden seem light. Sure, “Creed” is formulaic and predictable, but it’s also joyful and inspiring.

The Danish Girl - 3 smiles

“The Danish Girl,” based on the life of transgender pioneer Lili Elbe, has many things going for it: excellent acting, impeccable production values and socially relevant subject matter. Yet this well-crafted film often seems too restrained. Perhaps this approach may make the movie more accessible to a wider audience, but the script too often constrains the dramatic conflict of the story, which concerns a married Danish artist who undergoes gender reassignment surgery in 1920s Europe. Ostensibly, “The Danish Girl” is a historical biopic about this courageous transgender figure, but in reality, it’s more a love-conquerors-all tale in which Lili’s wife, Gerda, serves as the emotional core. That’s not a bad thing, but somehow Lili gets short shrift: we see her change on the exterior, but less so on the interior.

It’s telling that most of the powerful moments in this dramatic love story occur when Lili  (Eddie Redmayne) and Gerda (Alicia Vikander) are alone or interacting with other characters. The two lead actors deliver strong performances, but the script doesn’t allow the sparks to fly between them. As the story moves along, we get hints of how their heretofore sexual relationship has been affected by Lili’s self-revelation. It’s as if director Tom Hooper is afraid to venture too far into tricky territory for fear of offending anyone. More important, Lili’s courage seems to be an afterthought in the story. It took an extraordinary act of bravery for Lili to act on her gender identity, but we only see a little of the inner turmoil she must have felt. We actually see more of the conflict and its effects on Gerda.

Fortunately, the presence of Redmayne offsets some of the film’s deficiencies. Coming off his Oscar-winning turn as Stephen Hawking in The Theory of Everything, the actor proves once again his fearlessness and his dedication to his craft. His Lili is a technical marvel, an impressive assortment of gestures and expressions that are skillfully designed to show the Danish painter’s transition from Einar Wegener to Lili Elbe. Vikander has the less showy role, but her character is more three-dimensional and gives the film its emotional heft. Gerda’s pain, confusion and ultimate acceptance are evident. Her love for Lili is everything. Every frame of this movie is exquisitely shot and it’s obvious that this is a labor of love for those involved. However, Hooper’s strategy of keeping it safe is bound to affect how engaging audiences find “The Danish Girl.”

The Good Dinosaur - 2 1/2 smiles

“The Good Dinosaur” is an adequate family film, but it lacks the thematic depth and richness of previous Pixar classics like Up, WALL-E and this year’s Inside Out. And while it has the typical Disney messages of tolerance, friendship and perseverance, they seem obligatory and obvious. The storyline meanders a bit too much and offers a variety of cobbled together genres (there’s even a campfire and a cattle round-up). Essentially it’s a buddy/road trip movie. The opening sequence explains that the asteroid hypothesized to have caused the mass extinction event misses Earth, allowing the dinosaurs to continue their existence unimpeded. Several million years later, dinosaurs have developed into anthropomorphized creatures while humans favor walking on all fours and yapping like dogs. Our hero, Arlo (voiced by Raymond Ochoa), is the youngest member of an Apatosaurus family with Dad (Jeffrey Wright), Mom (Frances McDormand) and older brother and sister. They’re farmers with a pest problem – a human child (later named Spot) is sneaking into their stores and eating their corn. Dad asks Arlo to exterminate the intruder, but the young dinosaur can’t bring himself to kill. A chase ensues and, when Arlo and his father are caught in a sudden storm, tragedy occurs. The rest of the movie follows Arlo and Spot, swept away by a river to a far-off place, as they make the homeward journey.

“The Good Dinosaur” has some of the most amazingly photo-realistic backgrounds, including trees, steep mountainous cliffs and raging rivers and waterfalls. The realism of the surroundings makes the dinosaurs seem too cute and cartoonish. A role reversal casts a non-human as the chatty protagonist and a prehistoric homo sapien as the sidekick/pet. And while having Spot never utter a word, scratch himself and occasionally howl is cute the first time, it gets old after a while. The best moment comes during a scene where Arlo and Spot, who don’t share a language, use sticks to communicate. There’s genuine emotion in this sequence, something the rest of the movie could have used more of. So, if you have high expectations that usually come with a Pixar production, you’ll be disappointed with “The Good Dinosaur.” Go in with lower expectations and it’s not to bad. Faint praise?

In the Heart of the Sea - 2 smiles

Visually, “In the Heart of the Sea” is worth seeing. But if you’re looking for epic story, you’re going to be disappointed. Don’t get me wrong. The movie has its moments, especially a successful whale hunt early in the story. However, the trailers create expectations of either a monstrous whale intent on revenge or an obsessive sailor seeking the destruction of the whale. You know, pretty much the story of Moby Dick. And, although Herman Melville is a character, the movie focuses on a group of men doing what is necessary to survive endless days on the ocean (remember the soccer team whose plane crashed in the Andes?) Director Ron Howard uses Melville (Ben Whishaw) and his curiosity about the mysterious circumstances of how the whale ship Essex sank as a framing device to tell this based-on-truth story. Melville finds Tom Nickerson (Brendan Gleeson), the ship’s only remaining survivor, who’s drinking his life away. At his wife’s pleading, Tom starts to recount the events of 30 years ago, when he was 14 (played by Tom Holland) (You might question the casting here as Gleeson is much older than his 44-yearold character.)

This is the story of two men, Captain George Pollard (Benjamin Walker) and his first mate, Own Chase (Chris Hemsworth). Pollard, the son of the expedition’s owner, is wealthy, arrogant, entitled and inexperienced. Chase is the real seaman, a working-class man with a chip on his shoulders. He’s also arrogant, but he has the skills to back it up. The most striking scenes are those that deal with the process of catching a whale, from spearing to the gory disemboweling. But after that, the whales are scarce and they must sail into less-traveled waters. It’s thousands of miles off the coast of South America where they encounter the big one. Once the monstrous whale sinks the Essex, the second half of the movie is spent with the survivors drifting on an empty ocean. In these interminable minutes, we don’t get anything resembling an understanding of character or how they survived. Of course, we didn’t get much character development in the first half either. “In the Heart of the Sea” tries to be about so many things: ambition, capitalism, greed and survival. In the end, it seems most interested in how Melville got the outline for his classic.

Spotlight - 4 smiles

"Spotlight" limits its scope to the investigation of what happened in Boston regarding the Roman Catholic Sex Abuse Scandal and its strength comes from keeping this tight focus. It doesn't attempt to broaden the subject. The dramatic tension comes from the difficulties encountered by journalists struggling to get to the truth while beset by budget cuts, reluctant victims and stonewalling church and legal officials. In 2001, The Boston Globe's 'Spotlight' team, consisting of editor Walter "Robby" Robinson (Michael Keaton), and reporters Mike Rezendes (Mark Ruffalo), Sacha Pfeiffer (Rachel McAdams) and Matt Carroll (Brian d'Arcy James), began investigating allegations of cover-ups of sexual abuse within the Massachusetts Roman Catholic Church. Initially faced with a handful of violations, the number of possible cases grew from four to 13 to an astonishing 90. After following leads, interviewing victims and lawyers and devoting months to the effort, the reporters wrote the story in early 2002 and triggered a tsunami that swept across the country and around the world.

Director Tom McCarthy keeps a firm hand on the reins as he doesn't milk a volatile situation for pathos (Which would be easy to do). He chronicles the journalists' investigation without minimizing the importance of the crimes they're probing. "Spotlight succeeds in presenting many of the heart wrenching stories respectfully while not losing itself in the turmoil. The ensemble cast is another strength of the movie, which has no lead actor. Mark Ruffalo and Michael Keaton give forceful, compelling portrayals as do Rachel McAdams and Brian d'Arcy James. Add Liev Schreiber (as the new Globe managing editor), John Slattery (as the deputy managing editor) and Stanley Tucci (as victims' lawyer Mitchell Garabedian) and you have a tremendously talented cast. "Spotlight" is a David vs. Goliath story, one of professionals dedicated to their craft and determined to break through barriers to strike at a seemingly impervious institution. Without the Spotlight team, would the crimes of the Catholic Church come to light?

Bridge of Spies - 4 smiles

It's important to notice, in Steven Spielberg's "Bridge of Spies," the parallels between the 1950s and today. Their U-2s are our drones; our allies still torture enemies for intelligence; demagogues at home still scream that we must be afraid and that our way of life is doomed. In 1957, James Donovan (Tom Hanks) asked to defend Russian spy Rudolf Abel (Mark Rylance) on three counts of thermonuclear espionage. Although everyone, including the trial judge, wants Abel to receive the death penalty, Donovan, a former insurance litigator, thinks Abel is more valuable alive. Five years later, in 1962, as East Germany is erecting the Berlin Wall, Donovan has a chance to prove it by attempting to trade Abel to the Russians in exchange for American pilot Francis Gary Powers (Austin Stowell), captured on a mission to photograph Soviet territory in a high-flying U-2 surveillance plane.

It's clear that Abel is guilty from the first scene, in which he pries open a hollow nickel to extract a code. We never doubt where anyone stands. And while everyone shouts for Abel's execution, we want our guy back unharmed. Standing on the Glienicke Bridge (where the prisoner exchange is supposed to take place), Donovan is alarmed to spot German snipers on the other end. His CIA handler tells him our side has them, too. The East and West could be mirror images: two gun nests, two prisoners, two sides that stoke fear in their people by calling the other the enemy. Hence, a key question here is, Are the good guys that much better than the bad? Most spy thrillers send in James Bond (see "Spectre") to save the day. "Bridge of Spies" sidelines the action heroes to celebrate the valor of ordinary men and Hanks gives us a Donovan who's sense of integrity pushes him to complete a difficult mission. With Spielberg at the helm, you know you're going to enjoy the journey.

(Note: In 1945, James Donovan became assistant to Justice Robert H. Jackson at the Nuremberg trials in Germany.)

Steve Jobs - 3 smiles

I read in the LA Times that, according to screen writer Aaron Sorkin, "Steve Jobs" is not a bio-pic even though it's called Steve Jobs. It seems that he and director Danny Boyle want to illustrate that a great mind doesn't always result in a great person so the movie is more an impressionistic work than an actual re-enactment. The movie focuses on three Apple releases and at the center of everything is Steve Jobs (Michael Fassbender), the iconic co-creator of Apple, garbed in his uniform of black mock turtleneck, blue jeans and New Balance sneakers. Jobs is undeniably brilliant with an arrogance to match. He believes in his own infallibility. The first section takes us to 1984 where Jobs is unveiling the Macintosh.  Jobs is browbeating Andy Herzfeld (Michael Stuhlberg) to get the demo computer talking and driving his assistant Joanna Hoffman (Kate Winslet) nuts with his complaints and demands. His ex-lover Chrisann Brennan (Katherine Waterston) has brought Jobs' daughter Lisa backstage. She wants Jobs to know that his offspring is now living on welfare because his child support payments are insufficient. Jobs refuses to acknowledge paternity, but does form a fragile bond with Lisa. It's his relationship with his daughter that comprises the movie's emotional core. Act two occurs before another launch: 1988's NeXT Cube. No longer with Apple, Jobs is plotting revenge against those who ousted him, especially Apple CEO John Scully (Jeff Daniels). By 1998, Jobs is back at Apple and he has mellowed - a bit. Now we have the launch of the iMac. For Apple, this is a turning point - the beginning of the company's ascendancy. Before the presentation, he clashes with several people. One is his old buddy, Steve Wozniak (a surprisingly effective Seth Rogan), who wants Jobs to acknowledge the efforts of the Apple 2 team, something he refuses to do.

Because the focus is on Jobs' personality rather than events of his life, "Steve Jobs" is more interesting than a documentary. The dialogue is full of wit, anger and passion and Michael Fassbender is a magnetic, compelling presence. We never once doubt that he is Steve Jobs. However, it's highly likely that the movie will leave some viewers ambivalent as they struggle with the question of how much arrogance, boorishness and incivility can be forgiven in the name of genius. (If you're looking for a factual accounting, see Steve Jobs: The Man in the Machine.)

Sicario - 3 1/2 smiles

Canadian filmmaker Denis Villeneuve provides a bleak world view in "Sicario," which means hit man in Spanish. There's not much difference between the good guys and the bad and while he definitely posits to the audience, 'Does the ends justify the means,' his story seems to answer the question in the affirmative. FBI agent Kate Macer (Emily Blunt) believes in the concepts of justice and jurisdiction. She and her partner, Reggie (Daniel Kaluuya), are among the dwindling number of true believers, a fact that becomes evident when they join a cross-agency task force led by the shady Matt (Josh Brolin) and the even more shady Alejandro (Benicio Del Toro). These two earn Kate's trust by claiming that their goal is to stop a terrorist whose bombs are killing her people. This isn't a lie, but what they don't tell her is that their methods will challenge her morals to the core. From Matt and Alejandro's perspective, there's no such thing as an 'innocent' bystander, only collateral damage.

Emily Blunt has appeared in all genres of movies, including the 2014 Tom Cruise thriller Edge of Tomorrow and she has been effective in all. Never has she been asked to take a character as far into darkness as she is with Kate. It's an arresting performance as she becomes the audience's surrogate in this ethical minefield. The character is a little naive and she learns some hard lessons. Brolin plays a role he's played before, a seemingly easy-going nice guy with a ice in his veins. Del Toro s frightening as the steely-eyed Alejandro who has an agenda that might not jive with the others. "Sicario" deserves Oscar recognition, but it's not an easy film to watch. It should be on the must-see list for anyone who appreciates films that dare to explore the moral gray areas.

The Martian - 4 smilesa

I can't fault "The Martian" for its melodramatic ending. Over-the-top? Yes. But the rest of the movie, starring a wonderful Matt Damon, is just about perfect. And director Ridley Scott keeps the tone light without detracting from the seriousness of the situation with moments of low-key comedy. Accidentally abandoned on Mars, astronaut and botanist Mark Watney is challenged to survive on an inhospitable planet where communication with Earth is virtually nonexistent, his food supply dangerously low and rescue, at best, years away. It proves to be an examination of how necessity can really be the mother of invention, not only for Watney, but for those on Earth seeking to find a way to save him. Although the concept of a modern day Robinson Crusoe marooned on Mars might sound depressing, Watney's introspective video journals illustrate not only his practically and innovation but his wry sense of humor. For Matt Damon, this is an opportunity to show his range. This is his movie and it's hard to find a flaw in the way he brings Watney to life. The fear, the anguish, the loneliness, the desperation and the joy - they're all there. The secondary cast is impressive as well, with names like Jessica Chasten, Kristin Wiig, Chiwetel Ejiofor, Jeff Daniels and Sean Bean lending their talents.

The events of "The Martian" transpire in the near future although an exact date isn't given. As the movie opens, the six-person crew of the Ares 3 mission are on the planet's surface conducting experiments and gathering samples. In addition to Watney (Damon) and mission Captain Melissa Lewis (Chasten), the crew includes pilot Rick Martinez (Michael Pena), chemist Alex Vogel (Aksel Hennie) and specialists Beth Johanssen (Kate Mara) and Chris Beck (Sebastian Stan). The approach of a major storm forces Lewis to order an emergency evacuation. In the race to the escape craft, Watney is struck by a piece of flying debris, lost and presumed dead. He is reluctantly left behind. When NASA receives the news, director Teddy Sanders (Daniels) an Mars mission controller Vincent Kapoor (Ejiofor) make the news of the death public.Although "The Martian" takes some liberties with the science, it presents one of the most accurate screen depictions of space travel to date. This authenticity is one of the factors that brought NASA on board. "The Martian" has my vote for a Best Picture and Best Actor nominations (at the very least. There should also be a lot of technical nominations.) This is science fiction for a sophisticated audience, providing a fulfilling and satisfying experience.

Black Mass - 3 smiles

Occasionally (although not recently) Johnny Depp is challenged to do more than play Johnny Depp playing a part. In "Black Mass," the actor's portrayal of Whitely Bulger reminds us that Depp can do impressive work. By inhabiting the character, Depp deepens an otherwise generic gangster story. As a cohesive dramatic thriller, the movie has trouble. There are some effective scenes, but as a whole, it feels more like a fast chronology of criminal dealings than the epic tale of a master criminal's rise and fall. There's no real character development that would have made "Black Mass" a richer, more disturbing experience. We catch glimpses of complex, conflicted relationships, but they are never allowed to grow beyond the basic story. Director Scott Cooper's goal seems to be a straight bio-pic of Whitey Bulger's life between 1975 and 1995. In 1975, Bulger,  a small-time leader of a South Boston Irish criminal gang,  has angered the larger, far more dangerous Italian mob and is targeted for elimination. Enter John Connolly (Joel Egerton), a South Boston native who has come home to spearhead a task force assigned with cleaning up the city. A childhood friend of Whitely's younger brother (a state senator), Bill (Benedict Cumberbatch), John reaches a deal with Whitey: if he will provide the FBI with actionable intelligence that leads to the decimation of the Mafia, the FBI will allow Whitely to act unmolested. This results in a mutually beneficial relationship that sours when Whitey becomes the biggest boss in all of Boston and openly defies law enforcement with brazen criminal acts.

Central to "Black Mass" is the relationship between Bulger and Connolly although Connolly's character is not developed enough. We're never sure what Connolly's motivations are - is he out for personal gain? Is he is awe of Bulger? Why does he allow himself to be manipulated? He seems to be okay with walking a fine line between being the good guy and joining the bad. Although Depp will get a lot of attention for this role, Joel Edgerton also deserves recognition for his cocky, self-assured Connelly, which is opposite of the damaged, twisted character he played in the recent The Gift (which Egerton also wrote and directed.) What makes "Black Mass" worth seeing is two outstanding performances, performances that transcend the film's weaknesses.

Transporter Refueled - 2 1/2 smiles

"Transporter Refueled" is the perfect way to reboot the series. It's mindless entertainment with enough thrills and story to make the time pass painlessly, especially if you're an action flick junkie. British actor Ed Skrein takes over the role of Frank Martin, a tough guy whose job consists of transporting packages in his teched-out Audi. Jason Statham created the role, which was tailor-made to his particular brand of acting: monosyllabic, suave and threatening. Skrein gets the first part, but is lacking in the other two areas. Luckily the filmmakers give Frank a dad to help him out. Frank Senior is a roguish charmer who says he's an Evian sales rep but is actually some kind of retired spy. Ray Stevenson seems to be enjoying himself, playing the dad with a jaunty twinkle in his eye and enough personality to make up for Skrein's lack of one.

The plot involves four young women who target their pimp (a Russian mobster), who forced them into prostitution fifteen years earlier. However convoluted the plot may be (and it is), it allows Frank to engage in hands-on combat and high-speed car chases. Director Camille Delamarre is successful most of the time, with a couple of great sequences: an escape in an airport with Frank's Audi flying through the air and wending its way through a crowded terminal. Even better is a battle in which Frank knocks around the bad guys by opening and closing file cabinets. This is the kind of inventive choreography that you see in Jackie Chan's earlier movies. "Transporter Refueled" leaves a door open for a sequel, but I'll see it only if Frank Senior has a major role.

A Walk in the Woods - 2 smiles

I was expecting more from "A Walk in the Woods," starring Robert Redford and Nick Nolte, based on a book written by Bill Bryson chronicling his attempt to hike the full length of the Appalachian Trail, from Georgia to Maine, accompanied by an overweight, recovering alcoholic pal. Bryson was in his mid-forties when he set off on his mini-adventure. And while Redford, who plays him, is exceedingly fit for his 79 years, an undertaking like this means something very different for a man some thirty years older. And his co-star, Nolte, playing his wheezing ne'er-do-well friend, Stephen Katz, is 74 (although he looks older). You can't help but wonder how these two are going to walk any distance let alone carry their heavy packs.

Yet age is barely an issue in this movie. In Wild, we watch as Cheryl Strayed (Reese Witherspoon) first become a victim of her backpack and then finally its master. After all, a backpack contains a miniature household and it is awkward and heavy, yet Bryson and Katz hoist their with little problem. And no blisters though they do fall into a stream. The numerous betrayals of an aging body don't matter so much to these characters, even though they should. The appearance doesn't match the reality. And their conversations do not allow for introspection or self-knowledge, instead, a series of jokes about all the things older men can't do that younger men take for granted or reminiscing about their sexual antics when they were much younger. Director Ken Kwapis keeps the tone light although Redford isn't loose enough to be funny. The cinematography is beautiful, but I can't recommend this 'Grumpy Old Men Go Camping.'

Straight Outta Compton - 3 1/2 smiles

"Straight Outta Compton" is that rare bio-pic about N.W.A. that resonates beyond its material. It argues that whatever ugliness we heard in N.W.A.'s music hasn't gone away. It also implicitly draws a line from the police harassment that inspired the band's most incendiary track, 'F* tha Police,' to the recent killings of black men by cops in Ferguson, Cincinnati and elsewhere. Among its main attractions are a dazzling O'Shea Jackson Jr., playing his father, Ice Cube and newcomer Jason Mitchell as Eazy-E, both founding members of N.W.A. along with MC Ren (Aldis Hodge), DJ Yella (Neill Brown Jr.) and future super-producer Dr. Dre (Corey Hawkins).

Director F. Gary Gray paints Compton as an inner-city minefield of gangs, drug dealers and cops that informed the band's hard-edged sensibility. Paul Giamatti is terrific as Jerry Heller, the faded but still savvy manager who helped turn N.W.A. into a double-platinum-selling sensation. In keeping with rap tradition, "Straight Outta Compton" is definitely self-aggrandizing, violent (rival rap mogul Suge Knight comes off as dark and vengeful) and more than a little misogynistic (the women are mostly groupies). Still, the movie treats Eazy-E's 1995 death from AIDS with sensitivity. For those aware of gangsta rap, but not aware of its origins, "Straight Outta Compton" is worth seeing.

The End of the Tour - 3 smiles

"The End of the Tour" is more intellectual than emotionally satisfying, but it is, nonetheless, an intriguing movie about Rolling Stone reporter David Lipsky's interview with David Foster Wallace. Lipsky spent a few days with Wallace in 1996 as Wallace wound up his book tour for Infinite Jest, his massive novel that made him a rock star among novelists. He hung out at Wallace's home in Bloomington, Ill., and traveled with him to Minneapolis for a reading. (Lipsky never published the story in the magazine, but later transcribed the interviews in his book Although of Course You End Up Becoming Yourself after Wallace committed suicide in 2008.)

Of the duo, our support probably align more with Wallace than Lipsky, who comes across as an irritating journalist who goes so far as to open the author's medicine cabinet to get a read on his subject. Eisenberg is good at playing disagreeable, but the role doesn't challenge him to do more. Segel, on the other hand, digs deep into Wallace, who is carefree one moment and in the next, deeply worried about how he's going to across in the article. A little doughy and wearing Wallace's signature head scarf, Segel gives one of the best performances of the year. What we ultimately discover in "The End of the Tour" is that the life you envy might not be what you really need or want. Pretty heavy for a summer movie.

American Ultra - 1 smile

I'm guessing that the idea for "American Ultra" looked better on paper than what eventually ends up on the screen. Jesse Eisenberg and Kristin Stewart are good actors and they have enough charisma that you care what happens to their characters. However, the push-pull between comedy and heavy violence doesn't mesh, making the tone uneven. The screenplay employees a questionable book-end structure. It begins with Mike (Eisenberg), bloody, bedraggled and in chains, in an interrogation room. Most of the story is then presented in flashback. There's no particular reason why this approach is used, but it reveals that Mike survives, resulting in little tension throughout the movie. Even more confusing is the decision to rewind events at the start of the flashback so we catch glimpses of key moments before they happen. Again, why? And the concept of an ordinary person being an elite covert agent awaiting activation is no longer a fresh idea. I realize that most movies ask the audience for a 'willing suspension of disbelief,' but the screenplay suggests that Yates (Topher Grace), a midlevel CIA manager, is able to carry out rogue assassinations without oversight and that he can employ psychopaths to do this. Really? "American Ultra" is pretty awful.

Hitman: Agent 47 - 2 smiles

"Hitman: Agent 47" is based on a video game: essentially a movie about shooting. Brought to the screen by Polish director Aleksander Bach, making his feature debut, the movie is little more than a string of action sequences. And in-between shootings, we get an outline of a plot, but a lot of details are either confusing or nonsensical. It's possible to craft an all-action film that grips audiences. Mad Max: Fury Road is a prime example. This movie is missing a key ingredient - none of the shoot-outs are infused with suspense. In fact, most of the time we don't care. Especially after we understand who the good and bad guys are. "Hitman: Agent 47" is passable diversion for action junkies, but everyone else should pass.

Southpaw - 3 smiles

The saving grace for "Southpaw" is the nuanced performance of its star, Jake Gyllenhaal because the story explores nothing new - the down-on-his luck pugilist, the grizzled trainer, the caring wife. Following Nightcrawler with another amazing physical transformation, Gyllenhaal commits to inhabiting his character, Billy Hope with ferocity and intensity. If "Southpaw" had been released in November, it might have garnered an Oscar nomination for Gyllenhaal. However, the July opening makes it questionable whether anyone will remember come nomination time at the end of the year. "Southpaw" offers few surprises. Its strength lies in the depth of its characters, believable individuals who make the predictable story seem more compelling than it really is.

Rick and the Flash - 3 smiles

A considerable amount of talent went into the making of "Ricki and the Flash," resulting in a pleasurable diversion, but nothing more. And that's disappointing. When you have Meryl Streep and Kevin Kline starring, Jonathan Demme directing a script written by Diablo Cody, you expect, well....you expect more. Streep is Linda, a sixty-six rock singer who fronts a house band, Ricki and the Flash, at a LA bar. Her career has long since peaked (and it wasn't that big when she was 'on top') but she keeps at it because that's her dream, her life. However, her pursuit of music caused her to abandon her family: her ex-husband, Pete (Kline) and her now grown children, Julie (Maime Gummer), Josh (Sebastian Stan) and Adam (Nick Westgate). Linda gets a call from Pete when Julie goes into crisis mode because Julie's husband is leaving her.

To writer Cody's credit, the story doesn't wallow in melodrama. "Ricki and the Flash" is not about a mother trying to make amends for the wrongs she committed against her children. It's about her trying to reconnect with them as adults and create a new relationship. It's a mature approach to the regrets of an absentee parent and, for the most part, feels authentic. Demme devotes a surprising amount of screen time to performances by Ricki and the Flash. They sing and play their way through several full songs, including Tom Petty's "American Girl" and Bruce Springsteen's 'My Love Will Not Let You Down" and parts of others. And Streep does all of her own singing and guitar playing. And Rick Springfield has a key role as Greg, Linda's lover and backup singer in the band. "Ricki and the Flash" is a warm story of a fractured family reuniting and finding a way to move forward and the quality of the cast and crew elevates the material. However, I don't think its strong enough to garner Academy attention come Oscar time. (But I am going to get the sound track.)

Man from U.N.C.L.E. - 3 smiles

"Man from U.N.C.L.E." is fun, with a mix of cheeky attitude and hard-edged story. It feels a lot like Kingsman: The Secret Service with Colin Firth, which premiered earlier this year. This version, based on the 60s television show, chronicles the birth of U.N.C.L.E. (United Network Command for Law and Enforcement) and explains how two such unlikely and seemingly mismatched spies, American Napoleon Solo (Harry Cavill) and Russian Illya Kuryakin (Armie Hammer) become partners. It also introduces their boss, Waverly (Hugh Grant). Director Guy Ritchie has a deft hand, allowing things to move at a rapid pace while maintaining a light, sometimes humorous, tone. The look of the film is authentic 1960s and there are several 'easter eggs' for fans of the original TV series. However, I was expecting a cameo from the original cast members, Robert Vaughn and David McCallum, which didn't happen. The film ends where the TV series began and holds promise of more stories to come. And a sequel would be welcomed assuming Guy Ritchie continues to direct, the stories are as good and the chemistry between Cavill and Hammer is emphasized.

The Gift - 3 1/2 smiles

"The Gift," by writer/director/actor Joel Edgerton, is a clever, atmospheric film that has enough twists and turns to keep you guessing. In the end, the moral to the story is that karma is a bitch.  Edgerton plays with our knowledge of 80s and 90s thrillers and tweaks those expectations in unexpected ways. For example, every time Robyn (Rebecca Hall) is in the shower, we expect something awful to happen. That it doesn't illustrates Egerton's delight in playing with the audience although he provides plenty of jump-out-of-your seat surprises. As Egerton plays Gordo, there's an increasingly eerie mix of earnestness and evil. Justin Bateman's Simon conveys a psyche as convoluted as Gordo's. And Rebecca Hall's Robyn expresses her sadness, her deep unease and finally, her clear understanding. "The Gift" is ultimately about truth and not knowing who people are until they are forced to reveal themselves. And as a Joel Egerton project, it's an impressive production. I didn't think I'd like it, but I do.

Fantastic Four - 1 1/2 smiles

The Fantastic Four comics were my favorite growing up so I was looking forward to see this year's version. From what I've read, director Josh Trank was brought in to shake things up. (The powers-that-be didn't want a bright, cheery version, similar to The Avengers). For a Marvel superhero movie, this one is pretty dark, but not necessarily in a good way. The fact the Stan Lee doesn't have a cameo (and he always has a cameo) says how far afield this movie has gone. So let's start with casting Miles Teller as the brainy Reed Richards. He fits the brainy part, but not the superhero physical part. Little time is spent developing the four main characters into three-dimensional people and their interactions are weak at best. There's no sense of camaraderie, especially between Reed and Ben (Jamie Bell), who are supposed to be long-time friends. There's barely a whiff of romance between Reed and Sue (Kate Mara) although maybe there was hope that a sequel would flesh this out. As for Doom (Toby Kebbell), there's nothing of Marvel's most notorious and infamous villains. The pacing is also off, with the first half introducing the characters in a fairly leisurely way and the compressed second half rushing their transformation, their learning to control their powers, their finding and battling Doom. "The Fantastic Four" is adequate entertainment, with hints of a better movie hidden within the script.

Mission: Impossible - Rogue Nation - 3 1/2 smiles

Whatever you think about Tom Cruise, you can't deny his dedication to his craft. To top last year's stunt atop the Burj Khalifa, "Mission: Impossible - Rogue Nation" finds Cruise's character, Ethan Hunt, clinging to the outside of an Airbus A400M without benefit of special effects or a stunt man. And although this stunt is not central to the story, it is, nonetheless, quite daring. The most suspenseful sequences are an underwater task, a motorcycle chase and the final confrontation. Director Christopher McQuarrie's script takes the MIF to Vienna, Casablanca and London in search of the nefarious leader of the Syndicate, that has wrecked havoc across the world. Returning are Ving Rhames' Luthor, the only actor to be in all five installments. Simon Pegg's Benji, in this third Mission: Impossible, gets a meaty supporting role as Nathan's second and Jeremy Renner is the only actor to be featured in both Mission: Impossible and the Jason Bourne franchises. New is Rebecca Ferguson as Ilsa Faust, who is just as physically intimidating and deadly as Hunt. Mission: Impossible - Rogue Nation" offers a serious tone, but there's enough humor to keep things light. It's definitely a summer popcorn movie and definitely worth seeing.

Aloha - 1 smile

Spoilers. Don't read if you want to see this movie. "Aloha," starring Bradley Cooper and Emma Stone, is a mess of a movie. Writer/director Cameron Crowe mixes too many genres and when he's finished, you're left totally confused and unsatisfied. First there's Brian (Bradley Cooper) who's trying to reinvent himself and salvage a dying career. There's a young fighter pilot, Allison (Emma Stone), who's assigned to 'babysit' him, who over acts to the point of being unbelievable and who's one-quarter Hawaiian. Then there's Brian's ex-girlfriend Tracy (Rachel McAdans) and her husband Woody (John Krazinski). Brian and Tracy still have 'issues' and Tracy and Woody are having issues. Okay. These are the makings of a drama, right? Instead Crowe throws in too much comedy that distracts from the seriousness of the relationships. Then there's Bill Murray's billionaire character who's trying to launch an orbiting weapon 'for the good of the country.' Throw in some Hawaiin mysticism, mix everything together and you have 'Aloha' with several endings.

I'll See You in My Dreams - 4 smiles

"I'll See You in My Dreams" has a fresh tone and an original way to tell a story. Nobody is as predictable as they first appear. A luminous 74-year-old Blythe Danner plays Carol, a widow of two decades who plays bridge and golf with her friends (Rhea Perlman, Mary Kay Place and June Squibb). And as Carol begins to realize she has been living life in a bubble, the new perspectives she develops aren't easy moves into romance or cutesy mom scenarios. And Carol's daily drinks look like the actions of a closet alcoholic until you realize that she's self-medicating because she's lonely. She makes her choices for believable reasons and the relationship (not a sexual one, thankfully) she has with a 30-ish pool cleaner (Martin Starr) is sweet and effective. Writer/director Brett Haley doesn't complicate his narrative with too much drama or make life overly simple. He provides a slice of Carol's life that's a little sad, sometimes silly, and all too real.

Hot Pursuit - 1 1/2 smiles

I wanted to like "Hot Pursuit," starring Reese Witherspoon and Sophia Vergara. And after seeing it, I'm not sure how it got made. The story, which takes the 'odd couple' concept, pairing a by-the-book female cop and a Spanish-speaking wife of a cartel stool-pigeon, doesn't work. That they don't like each other is more believable than when they're supposed to like each other. There's more chemistry in the outtakes at the end of the movie. The road trip doesn't work either, with the humor based on stereotypes and bad acting. One of the reasons I don't often see comedies is because they are too stupid to be funny. I should have remembered that and not seen 'Hot Pursuit.'

Furious 7 - 4 smiles

"Furious 7" is a big, noisy movie full of impossible car stunts that not only manages to give a proper send of to Brian O'Conner (Paul Walker's character), but manages to be a lot of fun as well. The cast from the previous 'Furious' movies returns, including Walker, Vin Diesel, Michelle Rodriguez, Dwayne Johnson, Tyrese Gibson and Chris "Ludacris" Bridges. Joining them this time around are Jason Statham as the hard to kill villain and Kurt Russell as a mysterious US government official. The most memorable scenes are the stunts, which include a parachute drop of muscle cars onto a twisting road in the Caucasus Mountains and a multi-million dollar sports car flying from one skyscraper through a second and onto a third. You don't go to a 'Furious' movie for the story or dialogue. You go for the thrill of the ride. So sit back and enjoy.

Pitch Perfect 2 - 2 1/2 smiles

I loved 'Pitch Perfect.' I liked 'Pitch Perfect 2.' Elements that made the original so good are a part of the sequel, but watered down. The focus, instead, is on more slap stick, involving Rebel Wilson's character, Fat Amy. And while you know the Barden Belles are going to win whatever competition they're in, their nemesis this time around, the German Das Sound Machine, led by a blonde dominatrix-looking lead singer (Brigitte Hjorth Sorensen), doesn't even get their comeuppance at the end. Unfortunately for first time director Elizabeth Banks, the plot is more of a series of vignettes rather than a smoothly flowing narrative. And Banks doesn't capitalize on the charisma star Anna Kendrick brings to the screen. Nonetheless, what Banks does create is a joyous, infectious spirit and upbeat, entertaining music.

Tomorrowland - 3 smiles

The best thing about 'Tomorrowland,' starring George Clooney and Britt Robertson, is its story. The worst thing is there's too much story, in that it takes too much time for Casey (Robertson) to meet Frank (Clooney). One superfluous scene involves Keegan Michael Key and Katheryn Hahn as a couple who run a sci-fi memorabilia shop. It seems this scene was thrown in so Bird could use a 'freeze gun.' Once Casey and Frank do get together, the story takes off. And child actress Raffey Cassidy is adorable as the butt-kicking Athena. Hugh Laurie is the unexpected villain, but the story has to have a villain so maybe not so unexpected.

Mad Max: Fury Road - 4 smiles

Although the movie's title suggests that Max (played by Tom Hardy) is the central character, he shares the hero duties with Charlize Theron's Furiosa, who is amazing, dominating every scene she's in. The plot is simple - it's one long chase with lots of explosions, crashes and special effects. The creativity is in the design of the various cars (which actually work), the costumes (note the difference in Furiosa's and the wives') and how each chase segment is different. Director and co-writer Geroge Miller cleverly develops character and his theme of redemption as the story progresses so you know little when the movie starts. Miller, who wrote the Mel Gibson Mad Max script, has a successful reboot and if you're an action fan, 'Mad Max: Fury Road is not to be missed.

Wild - 3 smiles

I am so far behind with my movie blog that there’s only one way to catch up.  I will briefly comment on the various movies and assume you know what the movie is about.

Reese Witherspoon’s performance is easily the most memorable aspect of “Wild,” based on Cheryl Strayed’s memoire. Although Streyed’s 1,000-mile long journey on the Pacific Crest Trail is mildly interesting, finding out why she makes this journey is more intriguing. And the cinematography is stunning. Director Jean-Marc Vallee steered Matthew McConaughey to an Oscar in 2014 with The Dallas Buyers Club and I’m sure Witherspoon thought he could do it again. If not for Julianne Moore’s outstanding performance in Still Alice, Witherspoon would have a clear shot at a second Oscar. “Wild” is a solid character-based drama with one of the year’s best performances to recommend it.

Still Alice - 4 smiles

I am so far behind with my movie blog that there’s only one way to catch up.  I will briefly comment on the various movies and assume you know what the movie is about.

Julianne Moore is amazing as Dr. Alice Howland, a brilliant college professor who is diagnosed with early on-set Alzheimer’s. Told from the perspective of the disease’s victim, this adaptation of Lisa Genova’s novel Still Alice is filled with clear-eyed honesty. It’s a tough movie to watch because not only is it difficult on her loved ones, but Alice is fully aware of what’s happening to her – how her world is closing in on her. Her frustration and despair are palpable. The movie also touches on how society views the disease and its victims (with little understanding) and how impotent the medical profession is (no miracle drug). Moore has my vote for Best Actress.

Into the Woods - 2 smiles

I am so far behind with my movie blog that there’s only one way to catch up.  I will briefly comment on the various movies and assume you know what the movie is about.

While “Into the Woods,” the cinematic adaption of Stephen Sondheim’s fairy tale Broadway musical, can claim a clever script and a few enjoyable performances, it’s really not that engaging. And in spite of perennial Oscar nominee Meryl Streep headlining the cast, Chris Pine’s Prince Charming is the best thing about the movie. His prince is the perfect mix of bluster, charisma and empty-headedness and his song “Agony” is truly enjoyable. “Into the Woods” may seem like the perfect family movie, but it’s hard to imagine young children having much interest in a film that’s really aimed at adults.

Big Eyes - 3 smiles

I am so far behind with my movie blog that there’s only one way to catch up.  I will briefly comment on the various movies and assume you know what the movie is about.

In addition to being a bio-pic, “Big Eyes” has strong themes about the importance of the act of creation to an artist and the tug-of-war between art and commerce in popular media. The movie illustrates that it’s no less traumatic when the artist is complicit. From the moment that Walter (Christophe Waltz) claims Margret’s (Amy Adams) art as his own, she feels as if she’s lost her identity. The ending satisfies in a way that only a courtroom scene can. However, the main weakness is Waltz’s overplaying Walter to the point of buffoonery. And while Amy Adams is always very good, it’s not her best work.

Selma - 3 1/2 smiles

I am so far behind with my movie blog that there’s only one way to catch up.  I will briefly comment on the various movies and assume you know what the movie is about.

What “Selma” does so well is to bring to life the events of 1965, especially ‘Bloody Sunday’ (the first march). The movie is riveting and David Oyelowo’s performance as Martin Luther King Jr. is impressive. There are a few missteps, such as the glossing over of Coretta King’s meeting with Malcolm X and the occasional captions, purportedly ‘reports’ by the FBI, which prove distracting and sometimes confusing. Nonetheless, ‘Selma’ demonstrates not only how far we have come as a society, but how far we have yet to go. Always confusing to me is how a movie can receive a Best Picture nomination, but not the director, Ava DuVernay.