Downsizing - 2 smiles

"Downsizing" is a serious movie dealing with serious issues: environmental irresponsibility (including climate change) being the most important and director/co-writer Alexander Payne does in effective job of world-building. It's too bad that the primary story is unremarkable. The first third of the movie is engaging, with a mix of satire and the sci-fi premise of shrinking people. The final 90 minutes is mediocre at best and the denouement just fizzles. The more interesting character is not Matt Damon's Paul Safranek, but Hong Chau's Vietnam refugee Ngoc Lan Tran (in spite of her stereotypical broken English). Because it is her character that delves into the life behind the curtain of opulence that 'downsizing' offers.

In the future, scientists are able to 'downsize' people, an increasingly popular option for cash-strapped middle-class citizens seeking to stretch their money, although envisioned as a way to affect the environment in a positive way. Paul and his wife, Audrey (Kristen Wiig), decide to take the plunge when their mortgage re-fi application is rejected due to a poor earnings-to-debt ratio. They learn that their assets of $150K will be worth $12M in 'Leisureland.' But when Paul awakens from the procedure, he learns that Audrey has changed her mind. Instead of living in a luxurious mansion, he's forced to rent an apartment with an obnoxious neighbor, Dusan Mirkovic (Christoph Waltz) and take a job for a cleaning service run by Ngoc Lan Tran (Hong Chau), who was forced by her government to under go downsizing. It's with her that Paul discovers that even in miniature, the human condition has its 'haves' and 'have nots.' And this is where the initial playful tone becomes preachy and then Payne throws in an 'end of the world' scenario.' Huh? There are some good things about "Downsizing," but the story doesn't support its important concepts.

Three Billboards Outside Ebbing Missouri - 2 1/2 smiles

"Three Billboards Outside Ebbing, Missouri" is a black comedy that banks its effectiveness on Frances McDormand and almost succeeds. Her character, Mildred Hayes, is a force to be reckoned with as she marches into the local rental agency and lays her life savings down on those billboards, blank space she rents to send a message to local sheriff Willoughby (Woody Harrelson) that asking nicely every day hasn't accomplished. Specifically, that her daughter has been dead for seven months, raped and beaten and burned alive, and no one has come close to catching who did it. Surprisingly, the action in the first half is from the perspective of Chief Willoughby, not Mildred. It is Willoughby who is pressured to solve the murder and whose terminal diagnosis puts an unofficial time limit on solving the case. It is Willoughby who keeps racist Deputy Jason Dixon (Sam Rockwell) on the payroll. And for the first half of the movie, "Three Billboards" is effective with its mix of heartbreak and humor that juggles some of today's weightier issues.

Unfortunately, things change when Willoughby (not wanting to waste away in front of his wife and kids) commits suicide about the midway point. With him gone, there's no one to balance Mildred's anger and Dixon's brutality. And while Mildred's character remains consistent, it's Dixon that finds a kind of redemption and changes the most - maybe changing too much within the scope of the story. Frances McDormand and Sam Rockwell will certainly receive Oscar nominations for their roles in "Three Billboards Outside Ebbing, Missouri." I would have preferred the second half to have been a little closer match to the first half.

Shape of Water - 4 smiles

"The Shape of Water," written and directed by Guillermo del Toro, is an adult fairy tale, a version of Beauty and the Beast where the beast looks like the Creature from the Black Lagoon and Beauty is mute. It is a heartfelt story where appearance is not a measure of beauty, gentleness and compassion. The movie, set in the 1960s when the real world, mixes Russia and the Cold War with fantasy. The three protagonists are members of a minority or suffer from a disability: Sally Hawkins' Elisa is mute, Octavia Spencer's Zelda is black and Richard Jenkins' Giles is a closeted gay man, while the antagonist, Michael Shannon's Strickland, is a clean-cut, hard-working WASP. This allows del Toro to make social commentary way before the conflict at the heart of the story begins. The romantic aspect of the movie illustrates why this is not your conventional love story. Both Elisa and the creature are lonely souls. We know little about his background except he was 'discovered' in the Amazon where he was worshipped as a god. Elisa's story is equally murky, although we learn that, as a child, she was orphaned after someone tried to slit her throat. The message is very clear: physical appearance is irrelevant; it's the heart that matters.

Sally Hawkins gives the best performance in a career full of top-notch portrayals. She sells the movie, transforming an inter-species romance into something delicate and delightful. And she does this without any dialogue. Few actors can convey menace better than Michael Shannon. His scary intensity makes Strickland a frightening villain; a sadist, a butcher, an ugly patriot. Richard Jenkins mixes wry humor with deep compassion as Giles and an underused Octavia Spencer brings warmth to the stereotyped 'best friend' role. Doug Jones, who spent hours in makeup, imbues the amphibious man with a degree of humanity that makes his relationship with Elisa all the more believable. "The Shape of Water" is a special movie with relevant themes and a strong payoff. It rebukes intolerance and affirms love in all its forms. This is one of the year's best motion pictures.

Coco - 3 1/2 smiles

"Coco," Pixar's latest, is a family-friendly effort that challenges with ideas rather than smothering with silliness. And when working with original material (rather than a sequel like Cars 3), Pixar is at its best. "Coco" takes us deep into Mexican culture by setting the movie south of the border on the Dia de Metros (Day of the Dead), when the spirits of the departed can visit their living relatives. In the Rivera household, music is banned. The ban dates back several generations when a woman, Mama Imelda (Alanna Ubach), was abandoned by her musician husband and left to raise her daughter alone. Despite the prohibition imposed by his great-great-grandmother, however, Miguel (Anthony Gonzalez) lives for music. Bolstered by the 'do what you must to follow your dream' motto of his idol, Ernesto de la Cruz (Benjamin Bratt), Miguel seeks to prove himself in a talent contest, but his unorthodox means of obtaining a guitar catapult him and his dog Dante into the land of the dead, where he meets not only Hector (Gael Garcia Bernal), a good-natured con-artist, but many of his ancestors, including Mama Imelda. Not being a spirit, Miguel has until dawn to return to the Land of the Living lest he remain trapped forever. But when Mama Imelda offers to send him back, he balks at her condition and instead seeks out Ernesto de la Cruz, with whom he believes he shares a special connection.

Director Lee Unkrich (Toy Story 2, Monsters Inc., and Finding Nemo) understands how to blend child-appropriate material with mature themes. And while it doesn't work on two levels, like Toy Story 3, it comes close. It's strong enough to engage young viewers and their parents. And it has the requisites for a popular movie: the young protagonist is likable, the animal sidekick is cute, the villain is suitably nasty and there's lots of heart and soul. And while the music is not particularly memorable, the theme of family is an important one. The story focuses on Miguel's desire to find his father, Hector's love for his daughter, and the shared bond that develops between the two. The movie also highlights Dia de Metros customs and uses them to take us into a fantasy world. And there's plenty of comedy to go along with the emotion. "Coco" may not rate at the top of Pixar's best (like Up, Wall-E and Toy Story), but it's certainly close.

Justice League - 2 smiles

Wonder Woman (Gal Gadot) is the best thing about "Justice League" and that's unfortunate. Especially since DC Films is trying to compete with the more enjoyable Marvel movies (e.g., Thor, Avengers, Captain America, etc.) And because Wonder Woman has to share screen time with Bat Man (Ben Affleck) and Superman (Henry Cavill) and help introduce new characters, Aqua Man (Jason Momoa), Flash (Ezra Miller), and Cyborg (Ray Fisher), all of the good will created by director Patty Jenkins' Wonder Woman, is diluted. And 70% of the plot is set-up for future tales and background exposition. In addition, the visuals and tone are dark, making the movie seem heavier than it needs to be. It's villain, Steppenwolf (a motion-captured Ciaran Hinds), has a poorly-defined back story and a confusing goal that has something to do with becoming a new god and possibly destroying the world in the process.

The movie does succeed in creating the Justice League and getting the team interactions right. The bantering helps lighten the tone and Ezra Miller's Flash adds much needed comic relief. For the next Justice League film to be better, the story will need to be stronger and the characters will have to have a clearer sense of purpose. Marvel got out of the gate first, but DC has the more recognizable heroes (comic-book wise). I hope that means something for their next effort.

Roman J. Israel, Esq. - 2 smiles

It's a credit to Denzel Washington's acting ability that we care at all for Roman J. Israel, Esq., the person because "Roman J. Israel, Esq.," the movie, is unfocused and hard to follow. Writer-director Dan Gilroy has created a story that's part character study, part legal thriller and part morality tale. Roman J. Israel is a lawyer inspired by the great heroes of the civil rights ear. With an full Afro and an iPod full of soul music, Israel writes the legal briefs for his partner who fights the cases in court. When his small firm suddenly closes, Israel goes to work for a high-priced attorney George Pierce (Colin Farrell), whose morals take a back seat to money. And the ethical Israel must survive in a materialistic world. Initially, Washington is quite likable as a crusading malcontent with the mind of a legal savant. We feel for Israel when the young activists at a nonprofit run by Maya Alston (Carmen Ejogo) snicker at his fusty tweed suit and respond to his old-fashioned chivalry with cries of sexism. But by movie's end, Israel seems like the villain and the slippery Pierce turns out to be - gasp - a fairly decent guy with a hidden noble streak. Huh? How did this happen? And how are we supposed to respond? The movie just doesn't hold together.

Darkest Hour - 4 smiles

In"Darkest Hour," screenwriter Anthony McCarten's story takes place over a short couple of weeks - from right before Winston Churchill is installed as prime minister to his first major political and wartime victory, the evacuation of 300,000 troops from Dunkirk. It's a short amount of time to get to know him, but with Gary Oldman's performance, by the end we know him very well. He's a day drinker, a heavy smoker, a captivating orator. He's unpredictable, often scaring people, but he's principled and passionate and can hold his own in his war cabinet meetings. There's an especially inspiring and emotional scene, when he finally shakes loose the shackles of a politician and speaks to some of the real people on the London Underground. It's clear to see he is compassionate and motivated to serve all people.

Oldman is aided by remarkably realistic makeup. (Woody Harrelson's makeup in LBJ was so distracting that I had trouble following the dialogue.) But Oldman's physicality (the way he walks, moves his hands, holds a cigar) and the way he speaks, brings Churchill to life. He is so immersed in the role that the actor disappears. The supporting cast is strong, including Lily James as Churchill's personal secretary, Elizabeth Layton; Kristin Scott Thomas as his wife, Clementine; Ronald Pickup as Neville 'Appeasement' Chamberlain; Ben Mendelssohn as the stuttering King George VI; Stephen Dilate as Viscount Halifax, the man waiting to step in when Churchill fails. Although "Darkest Hour" features no war scenes, there are battles as the House of Commons pushes for peace talks with Hitler. But Churchill knows that would be a mistake and his greatest weapon is his oratorical skills, which he deploys on more than one occasion. Director Joe Wright gives us a portrait that's rich with details and reveals how close the world came to disaster even before the blitz began. However, the movie is overshadowed by Oldman's performance. And that's why you must see this movie.

Mudbound - 3 1/2 smiles

"Mudbound," co-adapted from Hilary Jordan's novel by director Dee Rees and Virgil Williams, takes a long, hard look at the system of racial inequality that defined the 1940s South, focusing on the relationship that forms (and the consequences of that relationship) between two World War II veterans, one white and one black. These two men, Jamie McAllan (Garett Hedlund) and Ronsel Jackson (Jason Mitchell), have much in common except the color of their skin. "Mudbound" shows racism in many forms, both large and small. There are the obvious, like the constant threats of violence, the segregation on buses and store entrances and the white hoods of the Ku Klux Klan, and the subtle ones, like the entitlement of some whites who, although seemingly respectful, expect subservience from blacks or the way sharecropping is rigged to force many black farmers into states of near-slavery. The film also shows the contrast of how black soldiers are treated overseas and what awaits them on their return.

The characters are as carefully developed as the setting.  Just about every member of this exceptional ensemble cast has a three-dimensional personality. The exception is Pappy (Jonathan Banks), who is an embodiment of the worst of racial hatred. The villain is racism and we see Pappy in this role. The land on which the two families live and work is brown and defeating, eating away at the souls of those involved. Strong performances abound: Garett Hedlund's Jamie, tortured with PTSD and self-medicating with alcohol; Jason Mitchell's Ronsel, whose quiet dignity gives testimony to the strength of his character; Mary J. Bilge's Florence, Ronsel's mother and wife to Hap (Rob Morgan), the gentle grace that holds both families together. Other key roles are filled by Carey Mulligan, Jason Clark, Rob Morgan and Jonathan Banks. "Mudbound" is available on Netflix if you can't find it in a theater. It's a difficult movie to watch, but definitely worth seeing.

Marshall - 4 smiles

"Marshall" targets a representative event from the life of 20th century icon Thurgood Marshall, and by limiting the time frame, we get a distinct snapshot not only of the main character but of the setting that resulted in his becoming historically important. The focus is the 1941 trial of 'The State of Connecticut v. Joseph Spell.' At the time, Marshall (Chadwick Boseman), one of the NAACP's star lawyers, is traveling around the country litigating questionable cases with black defendants. Most are in the South but the organization, needing an influx of donations from wealthy supporters in the North, sends Marshall to Connecticut in January 1941 to team with local (white Jewish) attorney Samuel Friedman (Josh Gad). The case is steeped in racial undertones. Wealthy socialite Eleanor Strubing (Kate Hudson) claims to have been raped multiple times and thrown over the side of a bridge by her black chauffeur, Joseph Spell 9Sterling K. Brown). The case sets off a mass hysteria that results in white fold firing black servants. After speaking with Spell, Marshall is convinced of his innocence.

The resulting trial is a media sensation. Prevented by Judge Foster (James Cromwell) from speaking in court because he's not a member of the Connecticut bar (he is only allowed to silently advise Friedman). Marshall uses written notes and facial expressions to act as Friedman's voice. He lets his voice be heard in the papers by giving daily speeches on the courtroom steps. The prosecutor, avowed bigot Loren Willis (Dan Stevens), is friendly with the judge and the jury looks as unfavorable as one can envision for a black man in 1941. But Marshall's investigative tenacity and Friedman's growing comfort with criminal litigation shine a light on a truth that's tragic from many angles. 'The State of Connecticut v. Joseph Spell' was not one of Marshall's most famous cases but it provides the filmmakers an opportunity to illustrate the characteristics that made him a respective lawyer and civil rights figure. At the time when "Marshall" is set, the title character is still a quarter-century away from being names as the first African-American Supreme Court Justice, but the seeds of what would lead Lyndon Johnson to nominate him are in evidence.

Although it's widely accepted that the South was highly racist during the 40s, the movie illustrates that racism was alive and deeply-rooted in the more progressive North. For all of its intolerance and segregationist mindset, Greenwich, Connecticut might as well have been deep in Dixie as in New England. The movie unfolds as a courtroom drama and it's as much about co-counsel Friedman as it is about Marshall. In fact, insurance lawyer Friedman goes on to become a nationally-known civil rights attorney. Chadwick Boseman's performance shows his versatility and force of personality and Josh Gad, better known for his more comedic roles, does admirably in a purely dramatic part. Marshall is a name in history books; this compelling movie brings him to life and imbues him with a hero's traits. "Marshall" is an engaging movie. It's also important.

Wonderstruck - 3 smiles

Although "Wonderstruck" has a very satisfying ending, the journey to that conclusion is disappointing. Director Todd Haynes illustrates his mastery by bringing bygone eras to the screen, but the story he tells struggles to retain our interest and emotional investment. The movie's structure is ambitious. It begins with thematically similar stories separated by 50 years and as the plot progresses, the two seemingly disconnected characters start to converge. The 1927 sequences replicate silent films, with black-and-white images and no sound. 1977 is shot using muted colors of a 70s production, but the effect is like a 1920s short spliced together with a full-length movie made in the mid-70s.

The 1927 story concerns a young deaf girl, Rose (Millicent Simmonds), who runs away from home, escaping her cold, uncaring father, who has no interest in nurturing her. She heads for New York in search of her favorite star, Lillian Mayhew (Julianne Moore), who is appearing in a play there. As it turns out, there is another element that connects them and Rose soon ends up on the run, spending time wandering around the American Museum of Natural History. Meanwhile, in 1977 rural Minnesota, 12-year-old Ben (Oakes Fegley), is trying to come to terms with the death of his mother, Elaine (Michelle Williams), who passed away before revealing the name of his father. Newly deafened as a result of a freak accident, Ben fathers clues about his father and heads for New York City. With the help of Jamie (Jaden Michael), a lonely boy he befriends, he beings his search and the storylines start to converge. While an interesting way to tell the story, the jumping back and forth between time periods hampers any attempt to develop relationships and, hence, our emotional distance. The performances are all good. Oakes Fegley is believable as a newly-deaf orphan who is desperate to find a connection. Millicent Simmonds replicates the look and mannerisms of 20s starlets. Julianne Moore has the more complex acting job, but she accomplishes it with the effectiveness of an Oscar winner. Although not without its pleasures, "Wonderstruck" isn't fully satisfying.

The Mountain Between Us - 2 1/2 smiles

"The Mountain Between Us," starring Kate Winslet and Idris Elba, a combination of survival tale and love story, does an adequate job of both but isn't spectacularly outstanding. The acting, however, is top notch. And they didn't kill the dog, always a good thing. The cast and crew went to actual mountains with real snow because much of the script required pristine snow and the scene where Winslet's character falls into icy water is real. According to director Hany Abu-Assad, she did that several times so he could get it just right.

The movie starts with travelers stranded at an airport due to an incoming storm and canceled flights. Two people, neurosurgeon Ben Bass (Elba) and journalist Alex Martin (Winslet), desperately need to get out. He has surgery the next morning and her wedding is less than 24 hours away. They charter a flight with a jovial pilot (Beau Bridges) and his dog. Everything seems to be going well until the pilot suffers a stroke and dies. The resulting crash on a mountain in the middle of nowhere leaves both injured. Ben has broken ribs and Alex has a fractured leg. The next hour follows them braving the elements as they realize rescue is unlikely. Their survival depends on finding civilization and as they struggle down the mountain, they begin to fall in love. Unfortunately, there are elements in the plot that challenge our suspension of disbelief. And while I like having a dog in the movie, he really doesn't need to be there and tends to distract. "The Mountain Between Us" wastes the talents of Kate Winslet and Idris Elba with a story that's too melodramatic to be memorable.

Dunkirk - 4 smiles

Although "Dunkirk" has an Oscar-unfriendly July release date, I'm sure that it will certainly be remembered when nominations are handed out. It is technically a war film, but its tone and style are those of a high-octane thriller. Director Christopher Nolan uses the framework of meticulously researched historical events as a backdrop for fictional characters. Using extensive cross-cutting, Nolan presents the events of late May 1940 using three perspectives and time frames: The Mole (infantry on the beaches of Dunkirk awaiting evacuation), duration 1 week; The Sea (a civilian crossing of the Channel), one day; The Air (a spitfire pilot tasked with stopping Germans from strafing and bombing rescue vessels and defenseless soldiers), one hour. By offering the perceptions of a limited number of characters and varying their roles and participation,  Nolan sacrifices characterization for a larger picture.

The British and French forces have already been routed by the German army. Backed up against the beach, 400,000 men are essentially stranded, waiting for rescue while being strafed by airplane fire as they queue up for the few boats that arrive. The narrative includes Fionn Whitehead and singer Harry Styles as young soldiers, Tom Hardy as a British pilot doing battle over the Channel and Mark Rylance serving as what amounts to a perfect surrogate for all the ordinary Britons who boarded small boats and brought their boys home. "Dunkirk" is extraordinarily spare, going long stretches with little or no dialogue, emphasizing the simple struggle for survival. Nolan also puts the audience inside the cockpit of an RAF Spitfire and in the line of fire during the action sequences, making this a rare film that benefits from seeing it in IMAX. (It was filmed with special IMAX cameras.) "Dunkirk" provides a fresh take on the horrors of war and the stirring aspect of the Dunkirk rescue. It's an extraordinary undertaking and Nolan delivers a spellbinding ride.

War for the Planet of the Apes - 4 smiles

"War for the Planet of the Apes," which caps off the story of how an alternate universe Earth was transformed from a bastion of humanity to being dominated by intelligent simians, is not only the best of the trilogy (which includes Dawn of the Planet of the Apes and Rise of the Planet of the Apes), but the best of all nine Planet of the Apes pictures. Powerful, heartbreaking and at times brutal, "War for the Planet of the Apes" provides more substance than spectacle. which is a surprise for a summer blockbuster. It would have been easy for writer/director Matt Reeves to take the easy way out: pit the dwindling human forces against the apes in a  winner-take-all contest. But Reeves, who co-write the script with Mark Bomback, wanted more, leaning heavily on themes of racism, the evils of war, the dangers of obsession, the poison of revenge and the importance of sacrifice. The movie is at times exciting, occasionally funny (one character has been added almost exclusively for comic relief) and, ultimately, poignant.

The story is told from he apes' perspective. The primary antagonist, Woody Harrelson's Colonel, is introduced obliquely and not given a full scene until the movie is a third of the way over. The main character is the ape Caesar (Andy Serkis), the leader who has for two movies sought peaceful coexistence with humans. But the Colonel is bent on genocide. He will accept nothing less than the obliteration of the apes and his brutal tactics force Caesar to confront the darker aspects of his nature. Accompanied by two companions, Rocket (Terry Notary) and the orangutan Maurice (Karin Konoval), Caesar sets out on a suicide quest to track and kill the Colonel. Along with way they are joined by an orphaned human girls , Nova (Amiah Miller) and a fearful loner who goes by the name Bad Ape (Steve Zahn). The motion capture special effects that transform Andy Serkis into Caesar are the most impressive technical achievements of the film. We never think of Caesar as anything but a fully realized individual. And Harrelson's portrayal of the twisted Colonel makes him the perfect foil for Caesar. "War for the Planet of the Apes" clearly paves the way for Planet of the Apes and is easily one of the summer's best films.

Spider-Man: Homecoming - 3 smiles

It's hard to rave about the latest Spider-Man movie after seeing Wonder Woman. It's definitely better than the two Andrew Garfield Spider-Man movies, but it follows the typical superhero movie plot line - we meet the superhero; he gets involved with the bad guy; he loses a few encounters before the final big fight. While the Peter Parker in high school stuff is enjoyable, the movie lacks inspiration. Even the big twist is more worthy of a chuckle than a dropped jaw. However, it is the first Spider-Man to occur in the 'Marvel Cinematic Universe,' which allows for appearances by Ironman (Robert Downey, Jr.), Happy Hogan (Jon Favreau), Pepper Potts (Gwyneth Paltrow) and Captain America (Chris Evans), who has the best post credit sequence.

Spidey's enemy this time around is a nasty piece of work called The Vulture (Michael Keaton), a scrap scavenger who has been lucky enough to come into possession of alien technology. The Vulture is a black-market seller of super-powered weaponry. Along with his henchmen, he prepares heists of high-value targets to increase his inventory. That's when Spider-Man starts interfering and, because Stark is temporarily distracted, Peter is forced to battle The Vulture on his own. Tom Holland proves to be an excellent choice for Peter/Spider-Man. He embodies a teenage caught between the desire to reveal his identity and bask in the glory that would accompany such an action and the recognition that 'with great power comes great responsibility.' He handles the many one-liners with panache and is more believable than Toby Maguire and more suitable in general than Andrew Garfield. Michael Keaton is an excellent foil, playing The Vulture as a man with a grudge against Tony Stark. Jacob Battalion's Ned, Peter's teen best friend, is more irritating than cute. Although "Spider-Man: Homecoming" serves its purpose as a place marker before the next Avengers' Infinity War,  the plot is a little too threadbare to stand by itself as one of the summer's best action movies.

Baby Driver - 2 1/2 smiles

I liked the first half of "Baby Driver," when writer/director Edgar Wright has firm control of the the choreographed heists that result in exciting car chases, underscored by the driving pop score. Baby (Ansel Elgort) is a getaway driver who's been disconnected from reality since his parents were killed in a car crash when he was young and his injury resulted in tinnitus. He constantly listens to music to drown out the noise in his ears so he's never without earbuds connected to several different iPods. In order to pull off his daring driving escapes, Baby needs to be playing just the right song. Baby is beholden to a crime boss, Doc (Kevin Spacey), who uses his skill as the wheel man for his various heist crews (Jamie Foxx, Jon Hamm and Eliza Gonzalez). Baby is trying to get out from under Doc's grip, setting up one last job. When Baby falls for Debora (Lily James), a waitress at the diner where his mother used to work, Baby's life becomes more complicated.

But the story has to go somewhere; it can't be all car chases and about half-way though, the tone shifts, whiplash-like,  to a violent crime drama. It's hard to see how Wright is going to end this other than having everyone die so his ultimate ending is disappointing, hurting the overall effectiveness of the picture. Elgort seems perfectly cast as Baby - he looks the part and he knows how to rock a pair of sunglasses and white earbuds. Unfortunately, he's a little too remote when it comes time for him to show deep emotion. There's plenty to admire about "Baby Driver," but the story isn't one of them and that's one of the reasons I go to the movies.

The Big Sick - 4 smiles

"The Big Sick," is a romantic comedy with a surprising amount of depth. The film, directed by Michael Showalter, is based on the life of Kumail Nanjiani, a Pakistani immigrant and comic and his wife, Emily V. Gordon, a television comedy writer. The couple co-wrote the screenplay and Nanjiani plays himself in the film while Emily is played, wonderfully, by Zoe Kazan. Kumail is introduced doing his stand-up routine at a Chicago club. Emily, whom he's never met, gently heckles him, breaking his focus. This meet-cute moment leads to a one-night stand that, despite their protestations, leads to a serious relationship. But there's a big problem: Kumail's parents (Zenobia Shroff and Anupam Kher) are strict Muslims who would never approve of his involvement with a white American girl. So he doesn't tell them about Emily, but when she discovers his subterfuge, she's devastated. It's clear to Kumail that if he marries Emily, he will lose his family. Emily has a right to be angry with Kumail, but she doesn't understand the gravity of what's at stake for him. Several weeks after Kumail and Emily have broken up, she is suddenly diagnosed with a mysterious infection that requires her to be put into a medically induced coma. Kumail, acknowledging the depth of his feelings for Emily, becomes so steadfast in his vigilance at the hospital that even Emily's parents, Beth (Holly Hunter) and Terry (Ray Romano), who have flown in from North Carolina, gradually warm up to him. Unlike Kumail, who had told his parents nothing about Emily, she has told her parents everything about Kumail and his deception.

One of the most moving aspects of "The Big Stick" is the way in which Terry, Beth and Kumail transform their antagonism into a fierce advocacy for Emily and for each other. Terry uses humor to camouflage his grief about Emily's condition and his frustration over not being able to fix the rift in his own marriage. Romano is deeply touching. Holly Hunter is a pint-sized dynamo as Beth, especially when she tries to shut down one of Kumail's hecklers at a stand-up show. Zoe Kazan is a delightfully spirited Emily and Nanjiani pulls of the none-too-easy feat of playing a younger version of himself. It's refreshing to see a movie that makes Muslim American characters three-dimensional people. But most of all, "The Big Sick" stands out for its huge generosity of spirit and its reliance on human relationships, rather than ridiculous slap stick, high-concept plot twists and outsized villains to drive its plot. You can't say that about most movies today, let alone a romantic comedy.


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Maudie - 4 smiles

"Maudie," tells the true story of Maud Lewis (played beautifully by Sally Hawkins), an arthritic woman in Nova Scotia who taught herself to paint and became an internationally recognized folk artist. Screenwriter Sherry White explores Maud's relationship with her husband, Everett (Ethan Hawke, cast effectively against type), a mean often bullying and socially maladroit man who hires her as a live-in housekeeper but over time falls in love with her. Maud suffered from the effects of juvenile rheumatoid arthritis, her hands often clenched, her head hunched over and her feet at odd angles, causing a limp. After her parents die, her greedy brother sells the family house and sends Maud to live with their mean-spirited spinster aunt, who barely tolerates Maud in her house. Needing to make her own decisions, Maud takes on the demanding job for Everett Lewis, but even after she marries him, she often feels unwelcome, unwanted and abused in her own home.

Although this might sound like a bleak and depressing story, "Maudie" is one of the most beautiful and up-lifting movies of the year. Directed with grace and style by Aisling Walsh, "Maudie" features a nomination-worthy performance from the versatile British actress Sally Hawkins. Her Maud, who is shunned buy the community and treated as something of a freak because of her physical condition and her eccentric ways, maintains an indomitable spirit, determined to find beauty in absolutely everything. And Ethan Hawke delivers one of the best performances of his career as Everett Lewis, a hulking and surly fish peddler living on the edge of town in a one-room house with only his dogs and chickens as company. "Maudie" is sad and disturbing, beautiful and moving and definitely a must see.

The Book of Henry - 1 1/2 smiles

"The Book of Henry" gets an extra half smile because of the engaging cast, all doing their best to make sense. Otherwise, it's really, really hard to suspend disbelief and go with the plot. [There are going to be spoilers, so if you're planning on seeing this movie, skip the rest of this.] This is the only feel-good family comedy where a mother (Naomi Watts) lets her older son, Henry (Jaeden Lieberher - playing a genius), control her life. He does her finances and makes sure she goes to bed at night instead of playing video games. There don't seem to be any consequences to this arrangement, which means that when Susan realizes that her son is just a child and she doesn't have to do what he says, it feels like it comes from left field. While Henry is played with engaging charm by Jaeden Lieberher, he doesn't seem like a real person. He has over $600.000 in a checking account from playing the stock market, everyone likes him and he's a genius inventor. You wait to see how his inventions fit together to influence the story and director Colin Trevorrow shoots the various parts of the contraptions as though they have a significant part to play later on.

The subplot that gradually takes over is Henry's obsession with proving the girl next door, Christina (Maddie Ziegler), is being abused by her stepfather, Glenn (Dean Norris). The film doesn't bother to show us Henry building his case other than Henry looking out his window and seeing Glen enter Christina's room late at night. We don't know either, but we're supposed to infer that Henry is right. And Henry dies midway through the movie. What?!! Why? But don't worry. He's left his mom detailed instructions for how to kill Glenn. That's right. Kill him. This is a feel-good family comedy, huh? And when the end arrives, there's another, What?!! Why? In "The Book of Henry," everyone involved want to do something meaningful, but it doesn't make sense.

Megan Leavey - 3 1/2 smiles

Based on a true story, "Megan Leavey" is an affecting story about love, sacrifice and the forging of identity. Megan (Kate Mara) signs up for the Marines as a way out of her dead-end life. There she finds a purpose, and a soul mate, in Rex. As a female K9 handler in Iraq during the height of the conflict in the early 2000s, she is out in front of the front lines before women were even allowed in combat and director Gabriela Cowperthwaite captures the queasy sense of unease and terror of walking out into unknown territory, bombs potentially anywhere under foot. Wounded in an explosion, Leavey is awarded a Purple heart and leaves the Marines, but is separated from Rex, who is redeployed. Fighting PSD and grief over losing Rex, she beings an odyssey to reunite with and adopt her best friend.

Writers Pamela Gray, Annie Mumolo and Tim Lovestedt keep the world and perspective honed in on Megan and Rex. The unspoken yet ever-present undercurrent running throughout is the theme of mental health struggles. Her depression is what motivates her to join up, her trauma bonds her to Rex and her postwar grief spurs her into action. The movie is about a woman who finds her best self after bonding with her bomb-sniffing dog and vice-versa. Mara and the dog convincingly portray the life-or-death bond necessary for their job. Although Cowperthwaite focuses on the human-dog relationship more than human relationships, this is a minor problem (especially if you're a dog lover). "Megan Leavey" is about how loving a dog can make life meaningful and it's an inspiring story.

The Mummy - 1 smile

Universal's "The Mummy" is the first (they hope) of several re-made monster movies under the 'Dark Universe' banner. Javier Bardem has signed on to play Frankenstein's Monster and Johnny Depp will be the Invisible Man (Huh. He's still a box office draw?). Also planned are reboots of Van Helsing, The Creature from the Black Lagoon and The Hunchback of Notre Dame. These films will share a world of 'gods and monsters,' with the probable goal of bringing these iconic characters together to face off or fight a greater threat, like some superheroes we know. It's safe to say the studio desperately needs "The Mummy" to be a box office success, which is probably why Tom Cruise plays the lead, but that makes this movie less of a thriller and more of an action flick.

The movie opens in modern-day Iraq, with Nick Morton (Cruise), his sidekick Chris (Jake Johnson) and Egyptologist Jenny Halsey (Annabelle Wallis) discovering an ancient Egyptian tomb, which turns out to hold the sarcophagus of Princess Ahmanet (Sofia Boutella), who awakens to complete her mission to bring the Egyptian god of death Set into a human body. Much of the first section is bogged down in exposition, including Dr. Jekyll (Russell Crowe) and his organization, 'Prodigium,' which tracks monsters. Later we get just plain silly zombies chasing the amoral Nick, who just might be redeemable, and an ambitious ending. Boutella, known for her roles in Kingsman and Star Trek Beyond, turns in a solid performance, perhaps the best thing about this awful movie. Cruise is Cruise. For the beginning of an ongoing series, "The Mummy" is a misfire.

The Hero - 2 smiles

Co-writer (with Marc Basch)/director Brett Haley (I'll See You In My Dreams) looks at aging from the  male perspective in his second film, which, unfortunately, is far more formulaic than the first. Not content with having their aging star, Lee Hayden (Sam Elliott), contemplate his mortality, the screenplay also throws in an estranged daughter (Krysten Ritter), a friendly ex-wife (Katharine Ross) and a romance with a much younger woman, Charlotte (Laura Prepon). Haley's recurring motif of death, where Lee wanders through scenes from his past movies is awkward and clumsy, seemly thrown in without much thought. And then there's Charlotte's uncharacteristically cruel stand-up routine that feels wholly at odds with everything established about her character up to that point.

The highlights include a pot-smoking buddy (a funny Nick Offerman) and a different kind of awards ceremony hosted by the Western Historical and Preservation Society, where Lee and Charlotte are so high that their giddiness spreads to the rest of the audience. Haley has demonstrated a willingness to grant older characters center stage. This time around, it's unfortunate that the story isn't as strong as Elliott's striking lead performance.

Beatriz at Dinner - 3 smiles

Before "Beatriz at Dinner" gets down to its serious topics, it starts as a seemingly innocent comedy of manners. Beatriz (Salma Hayek) is a Los Angeles-based Mexican immigrant whose spiritual affinity and natural empathy has led to a career as a header, a profession that allows her to combine traditional massage therapy with a holistic approach to maintaining health. After she is called to a Newport Beach mansion for a massage for Kathy (Connie Britton), a liberal whose daughter Beatriz helped through a bout of cancer, Beatriz's old VW fails to start and she is invited to stay for dinner while she waits for a friend to come to fix the car. As it turns out, the dinner is a celebration of the closing of an environmentally damaging real estate development deal and the guest of honor is John Lithgow's Doug Strutt, a well-known billionaire. When Strutt meets Beatriz, he mistakes her for the help and orders a drink, confirming for her that she has just encountered evil. Her fears are confirmed when, halfway through dinner, Strutt shares a cell phone snapshot of a dead rhinoceros, a big game quarry killed on an African safari. That's when the humor script writer Mike White has sprinkled throughout and the tension director Miguel Arteta has been building explodes. Nonetheless, all of everyone's hard work is in jeopardy of becoming undone by an ending that strikes out not once, but twice.

Both Beatriz and Strutt would be caricatures in the hands of less skilled actors, but Hayek and Lithgow give masterful performances. Hayek carries the pain of her patients (and the recent loss of one of her pet goats) in her wounded eyes. She approaches the strange world of capitalistic greed with curiosity, heartbreak and finally anger. Lithgow portrays Strutt in a logical way; he is a man who sees hunting as a primal experience, using patience and perseverance as a way to bring order to chaos. Strutt is in charge of all things and he knows it and likes it. Then there's the ending. An overwhelmed Beatriz makes choices (twice) that fundamentally betray the character Hayek has so thoughtfully constructed. And when the director must explain the ending, it's an ending that's not effective at all. Beatriz deserves better.

My Cousin Rachel - 3 1/2 smiles

There's a lot of atmosphere in director Roger Michell's "My Cousin Rachel," with fog-shrouded marshes, flickering candles, muttering servants and a broken pearl necklace tumbling down a staircase in slow motion, which definitely sets the scene for a mystery. We learn in the opening sequence that an orphaned Philip was taken in as a child by his benevolent cousin Ambrose and brought up in luxury at the family estate, which he will eventually inherit. When Ambrose goes to Florence for his health, he falls in love with Rachel and marries her, but then, in a series of letters to Philip, refers to her as 'my torment' and begs Philip to rescue him. By the time Philip gets to Florence, Ambrose has died of a brain tumor and Rachel has disappeared. Believing his cousin was killed by Rachel, Philip vows vengeance. But when Rachel finally shows up at the estate, Philip quickly becomes infatuated, but he continues to wonder, Is Rachel innocent or guilty?

However, the dynamic between men and women is at the heart of "My Cousin Rachel" and the true source of its mystery. If we watch the movie only wondering whether Rachel is good or evil, we are limiting our perspective to Philip (Sam Clafin), the protagonist, and limiting our understanding of the story. What's actually going on is bigger. And Rachel Weisz's performance as Rachel is truly exceptional -- because her Rachel really isn't hiding anything although she is manipulative and calculating. And Clafin's Philip bounces from one extreme to another, trying to wrap his brain around something that's beyond his limited experience to comprehend.  Because Michell forces us to stay within Philip's limited vantage point, we only see Rachel when he does, but we must understand that he is an unreliable narrator. "My Cousin Rachel" isn't so much a murder mystery, but a story of a woman desiring independence at a time when they are considered chattle.

The Exception - 3 1/2 smiles

Although a little clunky in places, "The Exception" is a beautifully filmed World War II-era romantic thriller, enlivened by outstanding performances and inspired by a little-known footnote to history. Christopher Plummer is phenomenal and the main reason to see "The Exception." He turns 90 in December and he still has great acting chops."The Exception" is set in 1940 at a 19th century estate in rural Netherlands, where Germany's past imperialism collides with the new ruthlessness of the Nazi regime. Caught between this clash of values are a loyal German soldier and a Jewish woman spy who confront their beliefs and establish a cautious relationship. Director David Leveaux successfully combines a strong acting ensemble with fictional and historical figures. Christopher Plummer perfectly embodies the past as Kaiser Wilhelm II who exiled in November 1918 when the Allies and German mutineers forced his abdication to end the first World War. The octogenarian monarch can now only influence his environment by chopping wood and feeding the ducks. His ineffective military campaigns are symbolized by a closet full of formal uniforms from units of which he was only the titular head. Prone to dry monologues, he has all of the prejudices and mannerisms of his time and class. Yet Plummer's Wilhelm offers a droll kindness toward his staff, from his loyal aide de Camp Colonel Sigurd von Ilsemann (Ben Daniels) to a comely new addition, Dutch maid Mieke de Jong (Lily James), who he can tell hasn't done this kind of work before. His haughty second wife, Princess Hermine Reuss of Greig (Janet McTeer), still lives in the high society of pre-1918 and is petitioning Hitler for restoration of the monarchy, but carefully because she wants the Third Reich to keep paying their allowance while she prepares for their triumphant return to Berlin.

Into this archaic atmosphere comes hunky Captain Stefan Brandt (Jai Courtney), who didn't even know his ex-emperor was still alive. He's assigned to protect the Kaiser, but is really there to report on his household to Gestapo Inspector Dietrich (Mark Dexter), who warns him that a British spy is in the area and they are closing in on the transmitter. Brandt keeps his eyes open although he's smitten by Mieke, who confesses she's Jewish. Things become more complicated when the head of the SS, Reichsfuhrer Heinrich Himmler (Eddie Marsan) visits. Leveaux stresses the romance, adventure and character and underplays the horror, although one of Himmler's dinner conversations is appalling. "The Exception" works as a love story and adventure. If only Leveaux didn't feel he needed multiple endings.

Wonder Woman - 4 smiles

"Wonder Woman" is a wonder. It's a movie that moves at its own pace, taking enough time to explain our heroine's deeply held beliefs of justice and morality and Gal Gadot brings thought and nuance to her role (rare for a super hero movie). Credit director Patty Jenkins (Monster) for having a vision for "Wonder Woman" and following through. After a framing device introduces Wonder Woman in modern day Paris, we flash-back to Diana as a young Amazon child raised on a mystical island free of men and full of warrior princesses. Among them are Antiope (Robin Wright), Diana's ferocious aunt and Hippolyte (Connie Nielsen), her protective mother. They impart on her the ways of their people and raise her to be a fierce, all-powerful fighter. However, Diana is also thoughtful and compassionate whose world is turned upside down when American pilot Steve Trevor (Chris Pine) crashes into the waters near her island. Diana rescues him and then travels back to London with him, where World War I is underway and she's determined to do her part to end it. Her immediate goal is to find and kill Ares, the Greek god of war. But there are several others in her way, including German General Erich Ludendorff (Danny Huston), and Doctor Poison (Elena Anaya), a chemical weapon's specialist. Diana's venture into 'No Man's Land' is where the movie really takes off, but the film is in no hurry to get there.

The script has plenty of action and CGI, but there are humorous fish-out-of-water moments with Trevor explaining the world and human nature to Diana. These are the character-building moments that give "Wonder Woman" such depth and make her feel like someone we care about before she demonstrates her extraordinary qualities. If there's a weakness, it's in the overblown climactic battle, a staple of superhero movies, but it's just a minor one. After all, she is fighting the god of war. Jenkins's biggest coup are her two leads: Chris Pine, as Trevor, brings a self-aware humor to a role that requires him to stand nude before an inquisitive Diana and say things that inimical to his macho pride while wrapped in Diana's glowing Lasso of Truth. We know he's good at the hero part because he's also Captain Kirk. And Gadot is exceptionally good, expressing female power with a quiet focus and an almost nonchalant self-possession. Cool, sincere, she's utterly credible, even when she's effortlessly scaling a tower or bouncing bullets off her bracelets. "Wonder Woman also benefits from a top-notch supporting cast, including David Thewlis, Ewen Bremner, Said Taghmaoui, Eugene Brave Rock and Lucy Davis. Jenkins' "Wonder Woman" has set the bar very high. I hope the upcoming "Justice League" can at least match it.

King Arthur: Legend of the Sword - 2 smiles

"King Arthur: Legend of the Sword" is the story of Camelot according to director Guy Ritchie and because this is Ritchie's version, some of the elements are familiar and some seem created to tell a story that's more action-packed than we're used to. Notably absent are Merlin (though he's mentioned), Lancelot, Galahad and various other knights. The story begins when Arthur is just a child. His father, Uther Pendragon (Eric Bana) rules Camelot and successfully defeats the dreaded mage Mordred. Meanwhile, Uther's brother, Vortigern (Jude Law) orchestrates a bloody coup that leaves Uther and his wife dead. Arthur, smuggled out aboard a small boat, becomes an orphan in Londinium, where he is raised in a brothel. Twenty years later, Arthur (Charlie Hannam) is brought to Camelot like all males his age to see if he can pull the sword Excalibur from a stone, one way that Vortigern can find his lost nephew. When Arthur is successful, he is imprisoned and scheduled for execution. Aided by a mage (Astrid Berges-Frisbey), the knight Sir Bedivere (Djimon Hounsou) and a few of Arthur's friends, Arthur escapes and joins the rebellion, determined to remove Vortigern from power.

There are a lot of battle scenes, all expertly choreographed and Ritchie doesn't allow things to get bogged down with subplots or a lot of exposition. He keeps things moving, even when not a lot happens. The film's look is one of its strengths, providing a fully realized Medieval setting. The CGI is well integrated, even when there are giant battle elephants on screen. Ritchie has indicated that "Legend of the Sword" is the first movie in a cycle although it can stand on its own if the box office isn't strong enough for a sequel. Wait for a reduced matinee price or cable.

Pirates of the Caribbean: Dead Men Tell No Tales - 2 smiles

"Dead Men Tell No Tales" is the fifth entry in this series and I hope the last. Although it is better than the last two installments (At World's End and On Stranger Tides), that's not saying a lot. Cap'n Jack Sparrow (Johnny Depp) isn't the charismatic draw he once was - in fact, this time around he is a caricature of his boozy self. Depp has resorted to mailing in his effort and he's just plain tiresome to watch in another movie. Luckily the plot doesn't revolve solely around him. The powers that be realized that when they removed Will Turner (Orlando Bloom) and Elizabeth (Kiera Knightley), their stories became weaker and less cohesive. So the 'new Will' is Henry (Brenton Thwaites), Will and Elizabeth's son, and his plucky love interest is astronomer and horologist, Carina Smyth (Kaya Scodelario). The quest in "Dead Men Tell No Tales" is to retrieve the Trident of Poseidon, a magical device that can impart power and remove curses. For the search, Cap'n Jack and his crew are joined by Will, Carina and the ever-returning Barbossa (Geoffrey Rush). They are pursued by naval officers and a ship of undead, led by Salazar (Javier Bardem).

"Dead Men Tell No Tales" is the shortest of the Pirates of the Caribbean movies and feels less bloated. There's plenty of action, some of which is a little to slap-sticky for me (the guillotine sequence, for example). The newcomers, Brenton Thwaites and Kaya Scodelario, hold their own opposite Depp. They mesh well together and Scodelario's feistiness is reminiscent of Knightley's Elizabeth. Less successful is Paul McCartney's awkward turn as Jack's uncle. "Dead Men Tell No Tales" is adequate, but ultimately forgettable. Hopefully Pirates of the Caribbean can be put to rest.

Paris Can Wait - 2 smiles

I was disappointed with Eleanor Coppola's romantic travelogue, "Paris Can Wait." This is a light and frilly road trip about a married, middle-aged woman who hops into a car with Jacques (Arnaud Viard), her husband's business partner and embarks on a journey through the French countryside marked by detours to restaurants and museums and a picnic by a stream. What's missing are truly likable characters and and engaging plot. It's unfortunate that the wonderful and captivating Diane Lane is stuck playing an unsympathetic character we like less at the end of the movie than we did at the start. And Jacques comes across as a little creepy, trying to find excuses to touch Anne and giving her the typical come-on. He keeps borrowing her credit card because he has a cash flow problem and he's a chain smoker. Unfortunately for Anne, we don't know much about her other than her daughter is off to college in the fall and she likes to take odd close-up photographs and Lane's facial expressions and sarcastic delivery gets tiring after a while. Coppola does manage to add in two tear-jerker scenes, one for each character, but that's too little too late. I was expecting more from "Paris Can Wait" and I really wanted to like it.

Guardians of the Galaxy - 3 1/2 smiles

I loved everything about Guardians of the Galaxy from it's interesting story, quirky characters, clever dialogue banter, fun soundtrack and, of course, Rocky and Groot. All of these are reasons I like "Guardians of the Galaxy Vol. 2." My only complaint is that director James Gunn seems to be stretching out  (even padding) his story, especially the climactic fight between our hero, Star Lord (Chris Pratt) and the bad guy. The movie opens with credits and the Guardians, Peter Quill/Star Lord (Pratt), Gamora (Zoe Saldana), Drax (Dave Bautista) and Rocket (voiced by Bradley Cooper) taking on a giant space creature in the background while Baby Groot (voiced by Vin Diesel) does an impromptu dance in the foreground. Clever and so cute!

Volume 2 is about families as well as Star Lord's encounter with his genetic father, a Celestial called Ego (Kurt Russell), who's actually a planet in human form and may not be as friendly as he seems. There's also an evolving situation between Gamora and her sister Nebula (Karen Gillan). And there's the remorse of Yondu (Michael Rooker) regarding his treatment of his adopted son, Peter. Some of the drama is a little over the top, but at least it shows that the movie is more than just special effects.  The soundtrack once again relies heavily on 70s pop/rock songs with Looking Glass' "Brandy" being the focus. The actors are in fine form. Chris Pratt and Zoe Saldana easily re-inhabit their original characters and their chemistry is evident. Bautista is given an opportunity to humanize Drax, but there's not enough of Rocket and Baby Groot. Volume 2 reunites the audience with characters they like and it's a visit that's worth seeing - maybe more than once.

Fate of the Furious - 2 smiles

Although I am a fan of the Fast and Furious series and I am willing to suspend disbelief with most of the fantastical things that happen, "The Fate of the Furious" suffers from a total lack of credible story (going up against a Russian submarine?),  plausible dialogue (it's all pretty dumb) and believable characterization (there isn't any). What it has going for it are returning characters we're familiar with and like and big, splashy special effects. I especially liked the driverless cars careening down New York City streets. Charlize Theron does a solid job as the villain of the piece and there are hints that she'll appear in the next installment. The "Fate of the Furious" is 'turn the brain off' and eat your popcorn. You either go with the flow because you like these movies or don't bother going.

Gifted - 3 1/2 smiles

"Gifted" is a dramatically solid and emotionally true movie, not your usual been-there-seen-that manipulative tear-jerker. Frank Adler (Chris Evans) is the guardian of seven-year old Mary (McKenna Grace), his dead sister's daughter. Mary is a math prodigy, following in her mother's footsteps. Frank decides that Mary, whose pastimes are focused on algebra and calculus, needs to become more rounded socially, so he enrolls her in a public school. Her introduction to the American educational system is rocky, but a helpful teacher (Jenny Slate), impressed by her math prowess, takes an interest in her. Unfortunately, Frank's mother, Evelyn (Lindsay Duncan) also decides to take an interest in her granddaughter, wanting Mary's gifts to be nurtured, not marginalized. This sets up a custody hearing in which two competing philosophies about parenting are pitted against each other. The screenplay is smart enough to present a balanced view in the courtroom, illustrating the positives and negatives of both although the audience has already picked a side.

Because the narrative takes on this subject matter, "Gifted" becomes compelling viewing. We are asked to consider the responsibility of parents and society when it comes to the nurturing and upbringing of a gifted child. Are we to allow them to 'just be a kid' or is it incumbent upon us to hone their areas of strength at the cost of other aspects of their lives and personalities? There's no easy answer and "Gifted" doesn't pretend there is - it simply puts a human face on the issue. The second strength of this movie is its emotional core, which, for the most part, doesn't fall into the trap of manipulation and histrionics. Director Marc Webb favors solid drama over melodrama (except in the final 20 minutes when he gets a little too sappy). Chris Evans is solid as Frank, giving a credible performance that we believe he is an Everyman and not his alter ego, Captain America. "Gifted" is worth seeing and emotionally rewarding.

Going in Style - 2 smiles

"Going in Style," a remake of a 1979 film, is an inconsequential piece of fluff that makes good use of its stars, Michael Caine, Morgan Freeman and Alan Arkin. Because director Zach Braff is probably banking more on the likability of its stars rather than the creativity of the script, most audiences will probably see this on home video. The main problem with "Going in Style" is that it takes forever to get going and when it does, there's not much style. Half of the movie is devoted to introducing the characters, establishing their relationships and making sure the audience is aware that these are good guys, not criminals. They have been robbed of their pensions by greedy banks and forgotten by a system that doesn't value the aged. So of course they're going to rob a bank. Once this crime arrives, nearly an hour into the 96-minute running length, things pick up. The segment in which Joe (Caine), Willie (Freeman) and Albert (Arkin) set up their alibis is a bit of cleverness missing from the rest of the movie. "Going in Style" is not aimed at your usual millennial demographic, but if it tickles your fancy and is still playing at a theater near you, it's a fun way to spend an afternoon.

United Kingdom - 3 smiles

"A United Kingdom" is first and foremost a love story although there is also a social agenda. Like Loving, it's about how affection between a man and a woman of different races affects not only their immediate social circles but has ripples that impact history. Director Amma Asante never sacrifices her narrative in favor of sermonizing, but it's clear how she feels about the attitudes of the British. Seretse Khama (David Oyelowo), the Prince of Bechuanaland, is in London attending school in 1947 when he meets Ruth Wilson (Rosamund Pike). Their romance turns into an international issue when he asks her to marry him and she accepts. They face resistance from everyone, from her father disowning her to Seretse's uncle, the current regent (Vusi Cunene), refusing to accept a white woman as his queen. British government representative Alistair Canning (Jack Davenport) warns that South Africa won't be pleased. (At the time, England wanted to keep South Africa, the most prominent power in Africa, happy.) Despite misgivings, Seretse and Ruth marry then travel to his home, where he must stand before a tribal council and plead his case. The council backs him and affirms his kingship but this causes a break between Seretse and his uncle, allowing the British government to interfere.

Because this is an underdog overcoming adversity, which history has already determined he did, Seretse triumph in the end is quite satisfying. But his journey to victory is a hard one as he fights not only local powers, but those at the pinnacle of British power, including Prime Minister Winston Churchill, who reneges on a promise made to Seretse. David Oyelowo and Rosamund Pike, who portray their characters as human beings rather than the historical icons they have become, is the strength of the movie. "A United Kingdom" is a touching and meaningful story, one that everyone should see.

The Space Between Us - 2 smiles

"The Space Between Us" takes an interesting premise, an Earth-conceived child born on Mars, and focus on just about everything else, essentially turning it into a road movie. The Martian has set a high bar for movies set on or about Mars and this one doesn't come close to being as good. For one, it's in a hurry to get the main character, 16-year-old Gardiner Elliott ) Asa Butterfield off Mars so there's very little Mars in the story, other than the lower gravity on Mars creates health problems for Gardiner when he gets to Earth. Because Gardiner lost his mother at birth, he's anxious to know who his father is, hence his desire to come to Earth. Plus he's established a pen-pal-type relationship via video conference with Tulsa (Britt Robertson), a tough, savvy loner.

The writers didn't even try to incorporate science into their script because all of those video conferences showed no time differential between Earth and Mars; it was instant communication. And as The Martian revealed, science can only make a good script all the better. But it seems no one was interested in being even close to realistic. The performances of leads Asa Butterfield and Britt Robertson are solid, but there's so much happening with the story you're not sure if the focus is romance, Gardiner's search for his father, or the danger he's put himself in by escaping those who monitor his health. "The Space Between Us" has everything but the kitchen sink, but, unfortunately, that doesn't make for a satisfying movie.

The Founder - 3 smiles

"The Founder," which chronicles the takeover and elevation of McDonald's by Ray Kroc (Michael Keaton), is mainly a character study although it also illustrates how vision of the bigger picture can result in the innocent getting hurt. Director John Lee Hancock, working from a script by Robert Siegel, neither lionizes nor demonizes Kroc, revealing all facets of his personality, the laudable, the mundane and the desirable. Kroc was a self-made man who came into his fortune through a combination of good luck, hard work and ruthless persistence. He was a force that didn't let anyone or anything get in his way, including the two naive brothers who entered into a partnership with him to franchise their innovative restaurant.

Today, no one thinks of McDonald's as offering 'good' fast food. But in the beginning, it was viewed as a restaurant and its creators cared about the quality of the hamburgers, fries and shakes they were selling. Their goal was to offer their customers a tasty meal at a cheap price with less than a 30-second wait between ordering and pickup. It was a concept that revolutionized the food industry and whose reverberations are still being felt today. We see what the McDonald brothers (Nick Offerman and John Carroll Lynch) were striving for, but Kroc was more about growing the business than nurturing it. And we see his dark side: he tosses aside his wife, turns against his partners (eventually bilking them out of hundreds of millions of dollars) and steals the spouse of hone of his investors. Kroc is pure ambition. Nonetheless, "The Founder" is certainly worth seeing and you probably won't think of McDonald's in quite the same way.

Gold - 1 1/2 smiles

Inspired by true events, "Gold," starring Matthew McConaughey, is a familiar tale of avarice, naivete and betrayal so nothing in the story is hard to swallow. Maybe because this, the movie is just more of the same. In 1993, Canadian mining company Bre-X bought a site in Indonesia and 2 1/2 years later, the company announced the discovery of a major gold deposit (which as subsequently 'verified' by experts). Bre-X's stock soared, eventually escalating to more than its original value. However, in 1997, the gold samples were identified as fraudulent and the company collapsed.

McConaughey turns in a high energy performance, but his character, Kenny Wells, is not a likable character. Kenny treats his gold mine discovery and the money that follows as his own personal checking account, rejecting moderation and never asking the important questions. So his ultimate downfall registers as just a 'huh.'

Hidden Figures - 4 smiles

"Hidden Figures" is an old-fashioned inspirational tale about a little known story, illustrating the racism and sexism that permeated all facets of American culture during the middle of the 20th century and highlighting the triumphs of three African American women as they assist NASA in getting its space program off the ground. Kathrine (Taraji P. Henson), Dorothy (Octavia Spencer) and Mary (Janelle Monae) are best friends who work as 'computers' in NASA's pre-electronic era. The racially segregated computers are women who perform the menial computations that allow the male engineers and scientists to plot orbits and determine safety margins for rocket launches. Katherine and Mary are selected to work directly with the men while Dorothy supervises the black computer room without the title and pay that should go along with her job. Working on a team designing heat shields for capsules, Mary determines that she has an aptitude for engineering and, despite obstacles based on both her sex and race, she pushes forward to gain the degree that requires a court challenge of segregation laws. Meanwhile, Katherine's skills as a mathematician get her noticed by Al Harrison (Kevin Costner), the director of the Space Task Group, who gives her increasingly important tasks as the Friendship 7 (John Glenn's Earth orbit) mission approaches.

Director Theodore Melfi has assembled a strong cast, led by Oscar and multi-Emmy nominee Taraji P. Henson, Oscar winners Octavia Spencer and Kevin Costner, multi-Emmy winner Jim Parsons (in a straight role) and multi-Golden Globe nominee Kirsten Dunst. Recording artist Janelle Monae gives a solid performance in one of her first dramatic roles (she's also in Moonlight). Henson is the heart of the movie while Costner demonstrates that maturity has added layers to his acting effectiveness. "Hidden Figures" proves that determination and talent can triumph over an unfair and repressive system, something that resonates today. This is a must see.

Lion - 3 smiles

The first half of "Lion" is exceptionally well done; the second half, which drags (among other problems) is not. The movie begins in a small village in India around 1990 where a young boy, Saroo (Sunny Pawer), works with his older brother, Guddu (Abhishek Bharate), to complete chores that will help their mother, Kamla (Pryanka Bose), put a little more food on the table. One day, Guddu tells Saroo that he will be traveling by train to a distant city to find work. Despite his age, Saroo insists on coming along. Guddu eventually lets him and long the way, the two become separated. Saroo eventually ends up in Calcutta not knowing where he is, how to speak the language or the name of the village he has come from. Fortunately, Saroo is adopted by an Australian couple, Sue and John Bierley (Nicole Kidman and David Wenham) and grows up with only dim memories of his biological mother and siblings. Twenty-five years later, an adult Saroo (Dev Patel), uses Google Earth to research his past and makes the decision to seek out his birthplace, hoping to be reunited with his mother and brother.

Director Garth David does an effective job of capturing the young Saroo's fear and confusion at being separated and stranded in a strange land. Non-professional actor Sunny Pawer (who doesn't speak English) conveys the essence of a child's view of a big, frightening world. The film loses traction when it shifts to modern day. Although there's nothing wrong with Dev Patel's portrayal, there's a disconnect between his Saroo and Pawer's. It's difficult for the audience to accept these two actors are the same person and the emotional intensity evident in the first half is missing, slowing things down. And although you want to find out how Saroo finds his mother, the adult Saroo is less interesting than the child. And Rooney Mara's role as Saroo's girlfriend is superfluous. Nicole Kidman, however, is effective as a loving mother who wants what's best for her son, even if it means sharing him with another mother. The documentary footage at the end of the film was shot by Davis for a 60 Minutes special detailing Saroo's life. "Lion" is an amazing tale in spite of its problems and certainly worth seeing.

Palm Springs Film Festival

My recent attendance at the Palm Springs Film Festival was enjoyable, reconnecting with old friends and meeting new people. Here is a thumbnail of each of the movies I saw, some of which will make it to theaters and others that won’t.

5:  Excellent. See it if you can.

4: Very Good. Also worth seeing.

3: Fair.

2: So-So

1: Skip it.

The Sense of an Ending - 3

A man learns that the events in his past as he remembers them are not accurate. Stars Jim Broadbent. The first 2/3 of the movie is very slow, making the movie longer than it needs to be. Things pick up when Charlotte Rampling’s character enters the story in the last 1/3.

Keep Quiet – 4

Documentary. Subtitles. Anti-Semite Csanad Szebedi becomes vice president of Jobbik, Hungary’s far-right-political party, while still a young man. Then he discovers he’s Jewish. What does he do? He converts to Orthodox Judaism. Is he sincere? That’s the question most of this movie explores. Again, it’s longer than it needs to be and because it’s subtitled, it seems even longer. But it’s an interesting story.

Abacus: Small Enough to Jail – 4

Documentary. Mostly subtitles. A Chinese community bank in New York City’s Chinatown is charged with malfeasance, the only US bank prosecuted for mortgage fraud in the wake of the financial meltdown of 2008. The director obviously wants you to be outraged that this small bank was even charged.  Interesting story about a bank and the community it serves.

The Idol – 4

Subtitles. Based on actual events, this entertaining drama recounts how a young Gazan man won Arab Idol 2013, despite long odds. There’s no American music here so if you don’t like (or can’t tolerate) Middle Eastern music, you might want to skip.

J: Beyond Flamenco – 3

Subtitles, but mostly music and dance. From legendary Spanish filmmaker Carlos Saura, captures the vivacity of the jota, a waltz-like castanet dance with its origins in Saura’s home province of Aragon. This project is about Spanish culture and an effort to preserve dances like the jota.

The Wedding Plan – 4

Romantic comedy where an Orthodox Jewish woman refuses to cancel wedding arrangements after her fiancé bows out. She insists that God will supply her a husband. The story is really contrived so if you can suspend disbelief, it’s more enjoyable. However, sometimes I felt like slapping Michal (Noa Kooler) and telling her to wake up.

Truman – 5

Subtitles. Lifelong friends reconnect for a short visit when one of them is diagnosed with terminal cancer. This movie is sensitively written and acted.  Director Cesc Gay explores a fairly well-worn tale with touching depth that’s neither mawkish nor manipulative. (Truman, by the way, is a dog. And he’s fine at the end of the movie.)

Searchers – 1

Subtitles. Based on John Ford’s 1956 western The Searchers, this one takes place in the Canadian Arctic. An Inuk man and his son pursue marauders who have ransacked his home and stolen his wife and daughter. This is essentially a chase movie in the frozen north. The cinematography for this monochromatic film is beautiful, but, even at  94 minutes, it’s tedious.

Kati Kati – 2

Subtitles. A hunting lodge in the Kenyan wilderness, a stand-in for purgatory, houses recently deceased souls. By the end, it’s clear that salvation will come only to those who acknowledge the past and their roles in it. The main character, Kaleche, has amnesia and her confusion matches the audience. The scenes roll out like a stage play and the ending only makes sense long after the movie is over.