Aquaman - 2 1/2 smiles

The best thing "Aquaman" has going for it is its lead, Jason Momoa, whose charisma is as formidable as his brawn. The problem is it's drowning in special effects - so much so that it interferes with the pleasure of watching Momoa's Aquaman do his thing. Certainly there are positives in director James Wan's extravagant underwater pageant where you can see a gladiatorial showdown sounded by an octopus on drums. But the bright spots can be difficult to relish amid the CGI spectacle and over elaborate screenplay.

There's a war brewing underwater, but David Leslie Johnson-McGoldrick and Will Beall's script takes a while to get there. They have to map out Aquaman's beginnings: going back to Atlanna, the banished Atlantis princess (Nicole Kidman), washing up on the rocky Maine shores of a lighthouse keeper (Temuera Morrison). They fall in love and have a child named Arthur before Atlanna is forced to return to the sea. As an adult, Arthur moonlights as a hero in between happy-hour trips to the bar. But he's reluctantly drawn into a struggle for the throne of the seven seas with his younger brother Orm (Patrick Wilson), who's plotting a battle with 'surface dwellers,' He regards Arthur as a 'half-breed,' not fit for the underwater kingdom. The red-haired princess Mera (Amber Heard), herself a formidable fighter, joins with Arthur on a globe-trotting mission to save Atlantis and prevent war by finding a sacred trident, with occasional, half-hearted gestures of romantic banter along with way. And while Orm's complaints about the land people are legitimate (polluting the oceans), the movie is too timid to explore this idea more than superficially. Instead, we have a royal power struggle that could happen just about anywhere, including Krypton or ancient Greece. Nonetheless, because Wan and Momoa have such a firm grasp of who Aquaman, they ultimately steer the film toward sincerity. In relation to recent DC films, "Aquaman" falls somewhere between the dark and dreary Superman and the more enjoyable Wonder Woman. But it's a step in the right direction.

Bohemian Rhapsody - 3 smiles

If you're a Queen fan and know a lot about about Freddie Mercury and the band, then you might not enjoy the biopic "Bohemian Rhapsody.' However, you will enjoy the music and Rami Malek is magnetic as Mercury. He makes you believe that he really is singing. (He's not. The voice is all Freddie.) The story is more than adequate, a rags-to-riches tale of Freddie (ne Farrokh Bulsara), working as a Heathrow baggage handler, experiencing prejudice when the locals call him 'Paki.'  When the band he is following loses its lead singer, Freddie seizes the mic and the rest is history. Like most biopics, its events are telescoped and many of the supporting characters are two-dimensional. And for obvious commercial reasons, the film downplays the amount of gay sex that Mercury had in his later years. (He would die of AIDS-related pneumonia in 1991.) But Freddie's neediness and insecurities come through vividly. He never wanted to be alone.

The other members of Queen, Brian May (Gwilym Lee), Roger Taylor (Ben Hardy) and John Deacon (Joe Mazzello), don't get a lot of time to establish themselves, but they're a visual match to their counterparts. Among the irresistible scenes is the one in which they record Bohemian Rhapsody: the band bewildered at having to screech, 'Galileo, Galileo' in ever higher registers, while the audience, with 20/20 hindsight, marvels at their willingness to go long with the foolishness. And the last sequence, their performance at Live Aide in 1985 is spectacular: Bohemian Rhapsody, Radio Ga Ga, Ay-Oh, Hammer to Fall and We Are the Champions. ""Bohemian Rhapsody" might avoid any complexity of character or social issues, but Rami Malek's performance as Freddie Mercury will certainly rock you.

Can You Ever Forgive Me - 3 smiles

"Can You Ever Forgive Me," is Melissa McCarthy's best performance of her career. Today, Lee Israel is known more for her audacious spree of forgeries than for being an author of biographies. Broke and unable to get her editor (Jane Curtain) to take her calls, Lee (McCarthy) stumbles onto a theme that provides her with a steady income. By forging letters supposedly written by the likes of Noel Coward and Dorothy Parker, she is able to attract the interest of collectors, and, in some instances, make as much as $400 for a few hours' work. Later, when authenticity becomes an issue, she resorts to stealing actual letters from libraries and archives (and replacing them with her forgeries so they won't be missed).

The screenplay by Nicole Holofcener and Jeff Whitty, is full of cynical wit and dark comedy. McCarthy plays it straight, allowing her talent as an actress (often hidden under the awful comedies that pay the big bucks) to shine through. She develops Lee into a three-dimensional individual, brittle and misanthropic but also vulnerable and sympathetic. More than half of the movie features dialogue between Lee and Jack (a charming Richard E. Grant), who is a perfect foil for the bitter, inward-focused author. The two delight in throwing zingers at one another until circumstances become serious and the friendship sours. "Can You Ever Forgive Me" is one of the better independent movies released this year. If you can't catch it in a theater, be sure to see it on Netflix or cable.

Ralph Breaks the Internet - 3 smiles

"Ralph Breaks the Internet" is breezy and fun although the story is its weakest part. Six years after the end of Wreck-It Ralph, Ralph (voiced by John C. Reilly) and Vanellope (Sarah Silverman) still find themselves comfortably ensconced in their game consoles at Litwak's arcade - Ralph as the villain in Fix-It Felix and Vanellope at the star racer in Sugar Rush. For Ralph, this is the perfect life; he enjoys reputation and predictability. This sameness is grating on Vanellope, however. Like all Disney Princesses, she craves adventure in the great wide somewhere. When Sugar Rush is damaged and Mr. Litwak can't get a replacement part at a reasonable price, he decides to sell the console for scrap, making Vanellope and dozens of other avatars 'nameless.' To forestall this, Ralph and Vanellope make a dangerous, trek into the 'Internet,' using a newly attached port called 'Wifi.' Their journey includes a visit to a search bar (where the all-knowing bartender attempts to guess Ralph's requests before he finishes speaking them), a stop at an online racing game, an excursion into the seedy bowels of the Dark Eeb and a vacation at a website that specializes in all things Disney (and Marvel, Pixar and Star Wars). Ralph and Vanellope find the part they need on eBay, but, in order to pay for it, they need money. So Ralph makes a series of videos that go viral. The more she sees of the Internet, however, the less satisfied Vanellope becomes about the though of going home.

The central themes of the movie are animated staples: learning about the real meaning of friendship and how it requires sacrifice. While this is derivative, remember, "Ralph Breaks the Internet" is more about style and bling than substance. And there is imagination, just not in story or message. The way the Internet is structured and presented, like a huge city where every website is a building and each user is represented by a digital embodiment of himself, is creative. In an unusual move for a Disney film, there us no true villain. Although there is threat, it results not from an external antagonist, but from Ralph's insecurities, which, in turn, facilitates an action-packed climax.

The movie introduces new characters, most notably the tough car racer Shank (Gal Gadot) and the entity of Yesss (Taraji P. Henson), who promises viral content across a variety of social media platforms. The most fun take place inside the virtual Disneyland. Within this website can be found all the Disney properties and many are accorded cameos. Marvel is represented by Iron Man, Groot and Stan 'the Man' Lee. Pixar's ambassadors are Buzz Lightyear (Tim Allen) and Princess Merida (Kelly MacDonald). Star Wars provides stormtroopers and a frazzled C-3PO (Anthony Daniels). But the most entertaining are the Disney princesses - a variety of plucky damsels culled from decades of animated films, many of whom are voiced by the actresses who spoke for them in their original outings. They provide Vanellope with 'princess advice.' "Ralph Breaks the Internet" is a visual tribute to old-time video games, the Internet and Disney. The animation is bright, busy and eye-catching and it's certainly a holiday treat and worth seeing.

The Favourite - 2 smiles

Director Yorgos Lanthimos' opulent costume drama, "The Favorite," is a bizarre historical farce. It revolves around the rumors about 18th century Queen Anne, the last of the Stuart monarchs, who reportedly indulged in lesbian liaisons with two of her closest sycophants. After losing 17 children, portly, petulant Queen Anne (Olivia Colman) is no longer interested in ruling England, which is waging war with France. Instead, she'd rather eat sweets, play with her pet rabbits and dawdle with pretty young ladies. Her closest friend, the scheming Sarah Churchill, Duchess of Marlborough (Rachel Weisz), makes all of the queen's important political decisions with Prime Minister Godolphin (James Smith), until suddenly Sarah's cherubic, yet shrewdly conniving cousin Abigail (Emma Stone) shows up at Kensington Palace, having fallen on hard times. Playing complicated court games, ambitious Abigail learns to make herself indispensable to the volatile, yet vulnerable Queen, as a power-shift occurs.

Lanthimos, an experimental filmmaker, seems to enjoy coy amorality and the occasionally odd intended-to-be-funny scenes (Abigail falling in the mud and dancing that turns spastically funky). And the ladies outdo themselves with naughty, often vulgar, behavior. Nonetheless, the performances are top-notch, especially that of the alternately sinister and chummy Weisz. However, the main fault of the script and direction is that we really don't care what happens to any of these women. And the ultimate black mark? He's not going to end it right there, is he? IS HE? He is. And the reason to see "The Favorite" is not for the ending that really isn't an ending.

A Star is Born - 4 smiles

"A Star is Born" has everything: an underdog-makes-good journey, a swept-off-your-feet romantic fantasy, a wrenching substance abuse drama, an industry cautionary tale. To top that off, there's the palpable chemistry between Bradley Cooper and Lady Gaga. And then, there's the music. (I love, love, love Shallow.) The first production of A Star is Born came in 1937 and starred Janet Gaynor and Fredric March. Gaynor played an actress plucked from obscurity by the star Norman Maine before she surpasses him in stature. In 1954, the same roles were played by Judy Garland and James Mason, except this was a musical. The 1976 remake, with Barbra Streisand and Kris Kristofferson, turned the franchise into a romantic rock drama. Kristofferson plays a self-destructive rock star and Streisand a younger singer named Esther. A key plot point is his drunken appearance during Esther's Grammy acceptance speech, humiliating them both. This is repeated in the latest "A Star is Born." It is the first movie directed by Bradley Cooper, who also stars as Jackson Maine. Lady Gaga, amazing in her first acting role, is Ally. In search of booze, Maine wanders into a drag club where he sees Ally sing "La Vie En Rose" and he's entranced. They spend the night talking and he soon pulls her onstage to sing with him. As her star rises, his substance abuse pulls him lower and lower.

We know where the story is going, but in between, Cooper infuses his fresh take with a cast of characters that draws you further into Jackson and Ally's orbit of dreamers and heartbreak. This is a love story that crackles with electricity backed by songs that pulsate with emotional intensity. There's Ally's father (Andrew Dice Clay), a limo driver who long harbored his own dreams of stardom. As Jackson's friend Noodles, Dave Chappelle plays a family man who shows Jackson the value of taking the road less travelled. Then we get Sam Elliott, as Jackson's brother Bobby. He's only in the film for a handful of scenes, but in those moments we see a man who has sacrificed his own spot in music history to babysit his drug-addled brother. And Gaga is a wonder. She sheds her pop star persona to give us an Ally who has given up on her dreams when we first meet her. As she becomes more successful and falls deeper in love with Jackson, we want so desperately for her to have the happily every after that's eluded so many of the other characters we encounter. Ally is a character we can believe in and her performance is certain to earn her some awards by year's end. Likewise, Cooper, who has elevated his acting game before, completely transforms himself, slipping into the role of Jackson with grit and heart. The tragic punch of the ending will leave you breathless as the credits role.

Widows - 4 smiles

"Widows," directed by Steve McQueen with an all-star cast, isn't just a heist movie and that's what makes it so good. The move opens with Harry Rawlings (Liam Neeson), a career thief, and his crew running afoul of their latest job. But the movie isn't about Harry and his three compatriots. It's about the four women they leave behind. Played by Viola Davis, Michelle Rodriguez, Elizabeth Debicki and Carrie Coon, this is a conventional heist film buried under layers of intricate plot twists and social commentary. Three of the four widows, Harry's wife, Veronica (Davis), Linda (Rodriguez) and Alice (Debicki), are left financially strapped once bereft of their husbands' ill-gotten incomes. For Veronica, it's worse. Harry's latest victim, gangster-turned-politician Jamal Manning (Brian Tyree Henry), expects Veronica to provide $2 million in restitution or he'll let loose his sociopath brother, Jatemme (Daniel Kaluuya), to extract payment in flesh. She has Harry's notebook, however, with the plans for his next job so she recruits those left behind to help her pull it off. The all-female crime team adds a fourth member, Belle (Cynthia Erivo), as their driver.

Each woman has a focus. In addition to facing a threat to her life, Veronica must deal with unsavory revelations about her husband. She's a serious person who rarely cracks a smile and, despite her seemingly confident air, she knows she's in over her head. Meanwhile, Linda must cope with caring for two young children after her shop is sold out from under her to pay for her late husband's gambling debts. And Alice dabbles in high end prostitution (as a 'sugar baby') to make a living. All of this plays out against the backdrop of a Chicago alderman's race that pits Jamal against Jack Mulligan (Colin Farrell), the son of longtime powerbroker, Tom (Robert Duvall). These two engage in the dirtiest of politics, manipulating people for personal gain.

The acting is strong across the board. At the top is Viola Davis, who has never given a bad performance and may again garner Oscar attention for infusing Veronica with determination in the face of seemingly crushing circumstances. Michelle Rodriguez and Elizabeth Debicki, although in supporting roles, are given moments to shine. Colin Farrell uses his natural charm and good looks to hide a morally bankrupt character. Veterans Robert Duval and Liam Neeson leave strong impressions in limited roles and Daniel Kaluuya demonstrates his range, playing a really scary guy. "Widows" delivers: it's satisfying and offers more than one normally expects from a seemingly simple premise of a heist.

Green Book - 4 smiles

"Green Book," a lighthearted drama about a road trip by two men, one black, one white, has an unflinchingly optimistic tone (not a bad thing in today's divisive political climate). The movie, set in 1962, is based on the true story of two New Yorkers. Tony Lip (viggo Mortensen) is a jovial bouncer at the old Copacabana, where he's famed for his ability to squash fights. Don Shirley (Mahershala Ali), a black pianist, new Lip's reputation and asked him to leave his wife (Linda Cardellini) and kids behind to be his driver on a two-month-long tour of the Deep South. Lip is fine behind the wheel, but what's more useful to his passenger is his talent for ending conflicts with his fists. Even for an accomplished entertainer, cities such as Birmingham, AL and Macon, GA, were perilous during the Jim crow era of the early 60s. The book in this title is The Negro Motorist Green-Book, which helped black travelers find hospitable accommodations. The forced closeness between Lip and Shirley results in changed perspectives and a developing respect.

To be sure, Shirley was unusual for his time. It was rare for a black man to live in a palatial apartment above Carnegie Hall. His friends called him 'Dr. Shirley because he had received two honorary degrees. And the excellent Ali plays Shirley with a stiff spine and courteous chill. Not so posh was Lip, a gregarious, funny Italian-American from The Bronx who scraped by to feed his family. The screenplay, written by Lip's son, Nick Vallelonga, with Brian Hayes Currie and director Peter Farrelly, doesn't shy away from Lip's lack of book smarts or his casual racism. Mortensen is almost unrecognizable in the role. To become the physically imposing Lip, a big eater, the normally slim actor acquired some middle girth and a solid Bronx accent. Both characters endure everyday moments of aggression and oppression. Although "Green Book" might be accused of being too sentimental (and not harsh enough), the chemistry between Mortensen and Ali takes the movie to the next level. This is one movie not to be missed.

Off line for a while

I apologize. Had trouble logging in to this account and Google doesn't make it easy. Finally figured out what the problem was. So, I can continue to post some movie blogs. And I will try to catch up.

The Wife - 3 smiles

The main reason to see "The Wife" is for Glenn Close's performance as Joan because she is thoroughly gripping as, literally, the power behind the throne. Otherwise, the film is just 'meh.' And maybe that's because I'm not a fan of Jonathan Pryce, whose Joe Castleman, an author up for the Nobel Prize, is a totally unsympathetic character. You see, Joe, a consummate philanderer, might not have authored his books. Maybe Joan did. And as things play out, you wonder why these issues haven't bubbled to the surface earlier in their marriage. It's a fault of the script that "The Wife" hangs on such a preposterous premise.

The film, directed by Swedish filmmaker Bjorn Runge, flashes back to the beginnings of their relationship, when Joan was a brilliant student and Joe was her literature professor. The very nature of their courtship was rooted in deceit - Joe was married to another woman at the time. And things haven't changed. Some 30 years later, he's still chasing anything female and dropping the same lines he used on Joan. Christian Slater is effective as a smarmy writer who has the jump on Joe's secret and is openly threatening to expose him. An under-developed subplot is the father-son rivalry between Joe and David (Max Irons).

The House with a Clock in its Walls - 2 1/2 smiles

"The House with a Clock in its Walls," a children's movie for the under 10 crowd, is an odd choice for gore-master Eli Roth, the director of hard R films like Hostel, Knock Knock, Inglorious Basterds and the remake of Death Wish last year. However, there are things he gets right and a few that create tonal problems with the overall film. The highlight of the movie is pairing Jack Black and Cate Blanchett as friends whose insulting banter toward each other create genuine laughter and casting Owen Vaccaro as the oddball Lewis, who is desperately lonely and dangerously curious. Overall, the movie's sense of atmosphere is weak. The house lacks the kind of mystical aspect that should inspire wonder. Sure, there's an armchair that acts like a puppy, a stained glass window that changes its images and the ticking that resonates throughout the building in the middle of the night. But for a young boy's first exposure to magic, it's all pretty pedestrian. And the transition between fairly benign events to menacing, end-of-the-world destruction is too abrupt.

The three mail characters are an orphan, a warlock and a good witch. Jonathan Barnavelt (Black) invites his young nephew Lewis (Owen Vaccaro) to live with him after the boy's parents are killed in a car crash. Jonathan is a recluse of sorts, his only friend is his sharp-tongued compatriot of many years, Florence Zimmerman (Blanchett), whose prodigious magical powers have faded. Jonathan's house once belonged to the black wizard Isaac Izard (Kyle MacLachlan) and his wife, Selena (Renee Elise Goldsberry), but the two died when an experiment to create a doomsday clock went wrong. Since then, Jonathan has been working to find that clock. He happily welcomes Lewis, informing him that there is only one rule: the contents of a locked cabinet must not be disturbed under any circumstances. Of course, as soon as he says that, you know what's going to happen. "The House with a Clock in its Walls" is an adequate Halloween treat for children who enjoy scary movies that don't go too far over the top. It's a straightforward story, lacking complexity, more for children than adults.

The Predator - 2 smiles

"The Predator," the latest iteration of the Predator movies, is a confusing mess of offensive quips, flagrant sexism and over-the-top violence. Director Shane Black, who was the first person killed in the original 1987 Predator, has made a movie that causes us to wonder why sequels like this ever get made. The movie starts with a strike team (led by Boyd Holbrook's sniper Quinn McKenna) getting ready to storm the jungle compound of a Mexican drug cartel. But before they can execute their mission, a spaceship rips through a breach int he sky and crash lands nearby. In the wreckage, McKenna finds the helmet and arm gauntlet of one of the predators. The sole survivor of his mission, McKenna escapes and mails the alien gear home to the States, where his son (Jacob Tremblay) discovers its sic-fi powers. Meanwhile, a team of government baddies (lead by Sterling K. Brown, one of the films few highlights) not only want the extraterrestrial goodies, but also want to know what McKenna knows. And so begins a race to both battle and understand these alien hunters and why they've decided to visit earth now. Olivia Munn, as a brainiac biologist, is on had to provide a lot of cornball exposition. She does, however, also get to join the macho action and there's no explaining why a scientist would be able to handle some of the weapons she gets to use.

Holbrook is fine enough as the film's central hero. It's not his fault that Black veers between action and cheesy comedy and it doesn't take long for "The Predator" to spiral into campy, comic nonsense and aimless carnage. The biggest waste of talent is casting young Jacob Tremblay as Quinn's son Rory. Unfortunately, he's asked to play an autistic boy with so much stereotypical baggage that it just adds another negative for the movie. "The Predator" isn't exactly a dumb movie, but it's not a smart one either. Even worse, it's open-ended enough to suggest a sequel. Guess that will be dependent on box office receipts.

Peppermint - 2 smiles

Ever since 1974's Death Wish, the vigilante revenge thriller has become a viable sub-genre. But there's nothing new to see in "Peppermint," which offers Jennifer Garner as an avenging angel Riley North, who survives a gang shooting which takes down her husband and adorable daughter Carly. To insure that the audience knows Riley has valid reasons for going after the people she does, there's a flashback to five years earlier, with Riley bravely identifying the culprits in court only to have the judge throw out the case for lack of evidence, while the defense lawyer smirks and the prosecutor shuffles some papers. She even gets tasered in court for her troubles. It's galling how manipulative the script is at this point: there's a whole host of folk who've got it coming and they certainly deserve it.

Riley spends the next five years traveling the world and learning various useful fighting techniques and the mastery of firearms before coming back to the big city where she holes up in a homeless encampment while plotting and executing her revenge. Director Pierre Morel, who helmed the unexpected box-office hit Taken in 2008, is back in familiar territory and he certainly adds a stylish touch to what is mostly fight scenes with a lot of red paint thrown around. Too bad the script is so cookie-cutter standard with few surprises. Garner, whose career got a kick start when she starred as a super spy in the TV series Alias back in the early 2000s, knows how to do the kick-ass stuff and she's actually pretty engaging in the role. If she manages to do a sequel, she needs to have a better script. If you like action flicks, "Peppermint" is a diverting way to spend an afternoon. If not, skip it.

Juliet, Naked - 4 smiles

There's something special about "Juliet, Naked," based on a novel by Nick Hornby and starring Rose Byrne and Nathan Hawk. Tucker Crowe (Hawk) is a singer-songwriter who made a few records and then walked away from an emerging career. Now, 25 years later, few remember him and almost nobody knows where he is, but he's the obsession of a small coterie of rabid fans. The most fanatical is Duncan (Chris O'Dowd), who, in between teaching what looks to be a fairly worthless college course about television, he spends his life collecting Tucker Crowe memorabilia and arguing with other Crowe obsessives on Skype. Annie (Byrne) lives with Duncan in a small English city and is beginning to realize she made a wrong turn somewhere. She's almost 40, wishes she had kids and has come to see Duncan for what he is - an antisocial snob. But she hangs on, miserable, but not seeing an alternative path. Then, one day, unable to take it anymore, she posts a negative comment to Duncan's review of an obscure Tucker Crowe album. The next day, she gets an email all the way from the United States: it's Crowe himself, telling her how much he agrees with her. He doesn't have much use for his albums either. And a long-distance friendship begins.

"Juliet, Naked" is a lot like other romantic comedies, but it's much better in that each scene is full of wit and emotion and the dialogue more meaningful. Hawke brings to Tucker the weight of unspoken regret and the wisdom that comes from a complicated past. And Rose Byrne demonstrates an impressive comic facility and unerring truthfulness that develops her Annie into a sympathetic character. Director Jesse Peretz brings a light touch and a genuine understanding for the human comedy. "Juliet, Naked" is certainly worth seeing. You won't be disappointed.

Papillon - 2 smiles

I always wonder why Hollywood feels compelled to remake movies, especially an effective one. I guess it's for new audiences who would not have seen the Steve McQueen and Dustin Hoffman Papillon and, obviously, today's movie makers can do it better. With that in mind,  Danish director Michael Noer takes us to penal colonies so dark and bleak that they drive prisoners insane. And while the performances of Charlie Hunnam and Rami Malek are good, you have to be in a mood for starvation, madness and harsh physical cruelty. Calling this gritty story of crime, punishment and the unquenchable urge to escape enjoyable is a stretch. Henri Charriere's supposedly true account of his imprisonment in French Guiana and Devil's Island has sold 13 million copies since its 1969 publication and the 1973 film was a hit.

Papillon (Hannum) is a tough safecracker framed for murder and Louis Dega (Malek) is a wealthy dandy caught forging government bonds. When they are convicted, the French courts banish them to the hell of a prison camp in French Guiana, never to return to France even if they survive the length of their sentence. Papillon, nicknamed for the butterfly tattoo on his chest, has no desire to remain stuck in a prison hellhole and he quickly aligns with Dega, who has a considerable amount of money shoved up his rear end, to plot an escape. The task is far from simple, especially under the draconian watch of Warden Barrot (Yorick Van Wageningen), but the jailbirds wind up sticking together through thick and thin, through swamps, seas and years of solitary confinement, to try and make their way to freedom. Hunnam and Malek show intense dedication to the physical demands of the script, but they don't have the level of charisma of McQueen and Hoffman. Noer wisely doubles down on adventure (and not so wisely on the gore), but, ultimately, this "Papillon" has me wondering why it was made.

Mile 22 - 1 frown

"Mile 22" is awful. It is, essentially, a haphazard assemblage of random sounds and images. The story is basic, a race against time, get from point A to point B. Director Peter Berg has so many cuts in this movie that even a fairly good fight scene is so cut up that it's hard to follow. There's grisly, unintelligible violence and Mark Wahlberg talking to fast that, after a while, you don't even care what he's saying. I'm impressed the this movie got made. As a lover of action films, even bad ones, "Mile 22" is vile and entirely unwatchable.

Note: Just read in Entertainment Weekly that Mark Wahlberg is hoping "Mile 22" is the start of a franchise for him. Ugh!! Won't see a second one! Surely Wahlberg can find a better concept for both a franchise and a movie character.

The Spy Who Dumped Me - 2 smiles

"The Spy Who Dumped Me" doesn't know what it wants to be - a buddy road comedy, a fish-out-of-water spy spoof or a romantic dramedy so it ends up being a little of each of these. The best thing about this movie is the chemistry between its leads, Mila Kunis and Kate McKinnon. A rough breakup is the catalyst for everything that happens and the script, cowritten by director Susanna Fogel and David Iserson, doesn't always make sense. Kunis plays Audrey, the dumpee, who works as a cashier at an organic food store. The guy who ditched her - by text no less - is Justin Theroux's Drew. We meet him in the movie's opening scene, a gritty shootout in Lithuania that suggest he's not just your average boyfriend. Drew, unbeknownst to Audrey, is in the CIA. She figures it out when he comes to Los Angeles and tries to make up with her, but dies from a bullet wound just before he gives her a mission: To bring a special secret thingamajig to an operative who will meet her in a cafe in Vienna. A freaked out Audrey wants nothing to do with this, but her best friend Morgan (McKinnon) convinces her to go forward. The ensuing caper takes the two from Los Angeles to Vienna, then to Paris, Prague and Berlin. Audrey gets to see Europe and tangle with a Russian gymnast-assassin (Ivanna Sakhno) and a handsome spy (Sam Heughan) who may or may not be working for the other side.

There's lots of action, replete with zig-zagging chase scenes and chaotic pandemonium that's not always played for laughs. But between the adventure and surprising amount of violence, it's a comedy in which Kunis and McKinnon trade goofball best-friend wisecracks. Kunis is a perfect foil for the more manic McKinnon, with her calm reactions and 'You've got to be kidding me' eyes. Nonetheless, it's tough to sustain a story line this thin for two hours and the movie runs out of steam at the two-thirds mark. "The Spy Who Dumped Me" mashes several genres together and the resulting mix is just okay.

Crazy Rich Asians - 4 smiles

“Crazy Rich Asaians” is a fun, enjoyable comedy and an occasionally over-the-top luxury fantasy. It manages to incorporate a few serious themes that hit close to home, especially with America’s current hostility toward immigrants. It also features an appealing cast. Based on Kevin Kwan’s popular novel, “Crazy Rich Asians” follows a young couple who, while deeply in love, hit conflict when family gets involved. Rachel (Constance Wu) is an economics professor at NYU and daughter of a single mother who came to the US from China just before she was born. Boyfriend Nick (Henry Golding) is the son of a massively rich Singaporean family, unbeknownst to Rachel. Nick is planning a trip back to Singapore for his best friend’s wedding and wants Rachel to go with him. She agrees to go, but is anxious about meeting his mother, Eleanor (Michelle Yeoh). It turns out that Eleanor is even frostier and less welcoming than Rachel feared, Nick is far richer than she could have imagined and she’s greeted as a gold-digging schemer.

This plot is pretty basic. What sets “Crazy Rich Asians” apart is director Jon M. Chu, who orchestrates a lavishly designed circus of excess with threads of class snobbery, family pride and the path of true love running throughout. The one drawback is that there are so many characters that some stories, like that of Nick’s kind, elegant cousin Astrid (Gemma Chan), get short shrift. The two leads, Wu and Golding, are charming and genuine and the supporting cast keep the mad story spinning. Yeoh’s Eleanor is suitably regal although she shows flashes of believable sympathy. Rachel’s mother, played but Singaporean stage and TV actor Tan Kheng Hua, brings warmth to the film’s more serious moments. Others show up for comic relief: Ken Jeon is a nouveau Rich dad with a wardrobe of tacky gold athleisure outfits, Jimmy C. Yang plays an old pal of Nick’s who’s lost in 80s excess. Awkwafina (superb in the recent Ocean’s 8) is a standout as Peik Lin, Rachel’s college chum and sidekick. Rachel reunites with her in Singapore and relies on Peik Lin’s love and support when the going gets rough. By pulling together so much Asian talent, Chu demonstrates that performers of all colors and ethnic backgrounds often goes untapped, just because Hollywood refuses to color outside the lines. Here’s hoping the the box office for “Crazy Rich Asians” will support more movies like this.

Mamma Mia! Here We Go Again - 3 smiles

I liked the original Mamma Mia, I like ABBA and I liked this sequel although it's really an unnecessary sequel. Most of ABBA's A-list songs were used in the first movie so the majority of "Here We Go Again's" soundtrack is comprised of songs from two categories: B-list tunes that will be familiar to only die-hard ABBA fans and repeats of songs from Mamma Mia. And there are more of the latter than the former, which is a good thing. Also included are two hits that didn't make it into the first film: "Waterloo" and "Fernando." Most of the cast has returned with one notable exception: Meryl Streep. While Streep has a cameo at the end of the movie, her character Donna is dead when the movie begins and only appears in flashbacks, where she's played by another actress (Lily James). This results in a bittersweet tone that brings surprising emotion to the whole production.

Because there's not much story in the present, much of the two-hour running time tells the tale of how Donna became pregnant with Sophie. These extended flashbacks take us 25 years into the past and introduces a new group of actors playing younger versions of the familiar characters. In the present, Sophie (Amanda Seyfried) is preparing to re-open the Greek island restaurant founded by her mother, who died a year ago. She is joined in this by her mother's lover, Sam (Pierce Brosnan), who has lived on the island since reuniting with his lost love in the first film. Also on hand is Fernando (Andy Garcia), hired to manage the restaurant. Missing in action are Sophie's two other fathers, Harry (Colin Firth) and Bill (Skellan Skarsgard); her husband, Sky (Dominic Cooper) and her grandmother, Ruby (Cher). Making the trip for the festivities are Donna's best pals, Tanya (Christine Baranski) and Rosie (Julie Walters). Meanwhile, in the past we see how a younger Donna leaves Tanya (Jessica Keenan Wynn) and Rosie (Alexa Davies) behind and heads out to see the world, ending up in Greece. Along the way, she has a brief tryst with Harry (Hugh Skinner) before embarking on a wild affair with Sam (Jeremy Irvine). After that ends poorly, she has a fling with Bill (Josh Dylan). The filmmakers do an excellent job of casting the younger versions of familiar characters and Lily James is effective as a young Donna. Cher's version of "Fernando" is top notch. If you enjoyed the first, you'll like the sequel.

Equalizer 2 - 3 smiles

Anton Fuqua's sequel to The Equalizer fits right in with the version of Robert McCall (Denzel Washington) he introduced four years ago when he updated the 80s TV show. This new Equalizer is more brutal than its Edward Woodward predecessor: when McCall fires a gun, it's with intent to kill and when he fights, the goal is to main and injure. And because The Equalizer was profitable, Sony is hoping for a successful franchise. For Denzel Washington, it's the first time he's appeared in a sequel and because Washington doesn't look his age, the audience is willing to suspend disbelief and do with the concept that he helps the innocent by fighting evil.

This time around, McCall is out to avenge the death of a friend. His mission is simple - kill the people involved in the deed. Since The Equalizer is by nature episodic, most of the characters in the first film don't return this time. The exceptions are Melissa Leo's Susan Plummer and Bill Pullman as her husband, Brian. New this time around are McCall's old CIA partner, Dave (Pedro Pascal) and an underprivileged kid living in McCall's neighborhood, Miles (Ashton Sanders). The action transpires across three cities - Brussels, Washington DC and Boston - and involves a group of mercenaries who are intent on 'eliminating loose ends' from two murders they committed. Their attempts to clean things up circle back to Robert and his friends. "Equalizer 2" is a solid follow-up to The Equalizer and here's hoping there will be an "Equalizer 3."

Puzzle - 3 smiles

Director Marc Turtletaub uses jigsaw puzzles as a catalyst for Agnes (a wonderful Kelly Macdonald), a woman stuck in a time-warp, rather than a main plot ingredient. Unfortunately, the movie is hampered by a sluggish pace and a sterile mood that sucks the life out of various emotionally-charged scenes. And the ending is so ambiguous that it's almost as if Turtletaub didn't know how to end his film. Even though the calendar reads 2017, Agnes (Macdonald), a middle-aged mother and wife, is living in the 50s. She's a housewife who exists to serve her husband and children and nothing is more important than having dinner on the table every evening. Shopping requires that she get all the foods that her husband, Louie (David Denham) and adult sons, Gabe (Austin Abrams) and Ziggy (Bubba Weiler) want. She has no life except as it relates to her family. In fact, she even does all the work for her own birthday party. Things change when Agnes opens one of her presents and discovers a 1,000-piece jigsaw puzzle. She puts the puzzle together twice in one afternoon, losing track of time. Wanting more, she catches a train into New York City and finds a jigsaw puzzle shop. Circumstances connect her with Robert (Irrfan Khan), a competitive puzzle participant, and, after some initial reluctance on Agnes' part, they become partners. And as their attraction builds, Agnes discovers herself and begins to act differently.

Macdonald, who normally plays supporting roles, gets a rare chance to take the lead and, by sheer force of her talent, she makes the movie worth seeing. Her portrayal of Agnes is deep and multi-layered. Unfortunately, Irrfan Kahn's Robert is as underdeveloped as is his romantic relationship with Agnes, which results in a lack of chemistry. The three actors comprising Agnes' family are all solid and Denham deserves credit for making Louie a decent man despite being hampered by his 'old-fashioned' values. "Puzzle" is refreshing mainly because it doesn't follow the preparing-for-a-championship storyline that so many films about competitions do.

Mission Impossible: Fallout - 3 smiles

"Mission Impossible: Fallout" is perhaps the most coherent of the Mission Impossible movies. This is especially true since Christopher McQuarrie took over the last two films. Combined together, Rogue Nation and "Fallout" represent the best the series has had to offer, including amped up action and stunts. It's a strong, engaging spy thriller with plenty of twists and relentless pace. However, typical of the genre, there are plot holes that you're not supposed to think about and it's way too long. The series continues to retain certain elements of its TV origins, including the iconic theme and self-destroying mission message. Along with central character, Ethan Hunt (Tom Cruise), many familiar faces have returned as well - Simon Pegg as Benji Dunn and Ving Rhames as Luther Stickell. Rebecca Ferguson's Ilsa moves closer to earning the level of love interest although she gets to participate in plenty of action. Newcomers include Angela Bassett as Erica Sloan, the CIA director, Vanessa Kirby as 'White Widow' and Henry Cavill as the buff chief antagonist, Sloan's 'fixer' August Walker. McQuarrie's version of Mission Impossible is bigger, over-the-top action sequences. There are several high-octane scenes, the highlights including a motorcycle chase through Paris streets, a lengthy rooftop chase with Hunt on foot and another that's focused on a helicopter chase. (lots of chases!) The biggest problem is its nearly 2 1/2-hour length, which is exhausting.

Suffice it to say, the plot involves a suitcase containing three globes of plutonium that Ethan loses when he has to choose between it and saving Luther's life. With Hunt chasing after the suitcase, Sloan (Bassett) assigns Walker (Cavill) to go along to insure the job is done the 'right way.' The plutonium is wanted by The Apostles, who are the remnants of The Syndicate, the group dismantled at the end of Rogue Nation when master villain Solomon Lane (Sean Harris) is captured. A broker, White Widow (Kirby) is willing to trade the plutonium to Hunt for a price: Hunt has to kidnap Lane, who is currently in French police custody. Things get complicated, of course. Isla is recruited by MI6 to kill Lane to regain her standing with Britain's spy agency, which brings her in close proximity to Hunt. And while Hunt and Ilsa never kiss, there is palpable chemistry between the two. Cruise isn't too old to credibly play Hunt (and the articles about the stunts he does himself are amazing) and with the success of "Mission Impossible: Fallout," this is one sequel that audiences will enjoy.

Incredibles 2 - 4 smiles

"Incredibles 2" illustrates Pixar's award-winning quality in terms of story and animation and writer/director Brad Bird has an ability to show us ourselves in a fun and sympathetic way. This is why his films, more than any other Pixar offerings, resonate so strongly with adults on an adult level while still being enjoyable for kids. "Incredibles 2" opens with our superheroes battling The Underminer and causing extensive damage to the city. As a result, the powers-that-be shut down the 'supers' program, making them illegal. With no government support, the Parr family must try to live life as 'normal' people. That is, until an ally is found in Winston and Evelyn Deavor (Bob Odenkirk and Catherine Keener), who run the wildly successful communications firm Devtech. Evelyn is the tech genius and Winston is the firm's PR genius. They want the supers back in action. They convince Bob-Mr. Incredible (Craig T. Nelson), Helen-Elastigirl (Holly Hunter) and Frozone (Samuel L. Jackson) that they have a perception problem. The public sees the damage they cause, but not the results. By using body cams, the public can now see supers in action, fighting crime and catching bad guys. Winston decides to take the supers public with Elastigirl because she causes the least amount of damage. That means that Bob is now the stay-at-home dad to Violet, Dash (Huck Milner) and baby Jack-Jack (Eli Fucile). And it's not easy being a single parent: Violet is going through typical adolescent angst, Dash is having problems with new math and Jack-Jack has emerging powers. Meanwhile, Elastigirl is fighting Screensaver, a high tech villain that uses hypnotism to get others to commit crimes.

"Incredibles 2" deftly interweaves spousal and sibling rivalry along the fear and confusion that goes along with Jack-Jack's emerging powers. (One of the best sequences is when Jack-Jack faces off against a marauding raccoon.) Nonetheless, the family bonds when it's time to face off against a menace to society. And undergirding Screensavers' motivations is the metaphor for everyone being too addicted to their various screens. Like many villains, he's fond of monologuing and his screeds against Helen cast her and other superheroes as a safety net for the rest of society, draining the citizenry of their free will. He's the bad guy, but he has a philosophy that's more complex that the usual world domination. "The Incredibles 2" is definitely entertainment for adults and children alike.

Note" Be sure to arrive early enough to see the Pixar short, "Bao." It's full of emotional potency and poignancy, sure to cause you to break out a tissue or two.

Jurassic World: Fallen Kingdom - 2 1/2 smiles

The less you think about the preposterous script for "Jurassic World: Fallen Kingdom," the more you'll enjoy it. After all, this movie is essentially summer pop corn fare - fluffy, mindless entertainment. The movie opens on Isla Nublar, where all hell broke loose three summers ago. A volcano threatens to destroy life on the island and the powers on Capitol Hill debate whether the dinos deserve to be protected as endangered species or if they should be left to die out. Meanwhile, Clare (Bryce Dallas Howard) gets her chance to save the creatures when Benjamin Lockwood (James Cromwell), partner of the late John Hammond, sends her with a reluctant Owen Grady (Chris Pratt) to transport the dinos to a nearby preserve. As Grady says, 'what can go wrong with that?' Along with a  paleo-veterinarian and a computer nerd (Daniella Pineda and Justice Smith), they find themselves working with heavily armed mercenaries led by Ted Levine. Obviously, something suspicious is going on.

Idealism buts heads with greed as our protagonists encounter double crosses, a child put in danger and a menagerie of CG raptors and rexes on the loose. Pratt flexes his brand of heroism mixed with deadpan sarcasm as the screenwriters push absurdity to its breaking point, especially in the final half hour. "Fallen Kingdom" is two pictures in one" an old-fashioned monster movie and a more sophisticated look at what happens when man plays at being God. These two aspects are poorly integrated, resulting in jerky shifts of tone throughout. The brief clip (after some of the credits) promises another sequel, which, depending on your viewpoint, could be a good thing because that would mean the trilogy is finished.

Tag - 1 1/2 smiles

The LA Times had an article the other day bemoaning that there has not been a hit comedy at the box office and that there were hopes that "Tag" would be it (pun intended). After all, "Tag" has an all star cast led by Ed Helms, Jon Hamm, Isla Fisher and Jeremy Renner, among others, and a hook of an idea based on ten guys who have played tag for 30 years. Unfortunately, there isn't enough of a story there and the script illustrates that weakness, resulting in a predictable plot that is mostly devoid of humor. The scriptwriters attempt to inject emotion and drama in the last 20 minutes, but everything falls flat. Five friends: Hoagie (Helms), Callahan (Hamm), Randy (Jake Johnson), Sable (Hannibal Buress) and Jerry (Renner) began a tradition in boyhood that they have maintained through the intervening years. Every May is 'tag month' and, despite living in different cities, they travel all over in pursuit of passing on the 'it' mantle to someone else. There are ground rules, but they can be amended. Four of the five are close but Jerry, who has never been tagged, remains aloof, isolated by his untagged status. But, on the occasion of his wedding to Susan (Leslie Bibb), Jerry may be vulnerable.

Some of the early scenes relating their convoluted attempts to tag Jerry and his equally amazing success at avoiding being touched are cute, but with the inertness of the story that follows, these scenes prove to be filler. And Isla Fisher, as Hoagie's wife is shrill and aggressive and about as funny as a soggy piece of toast. Hamm and Renner are suave, but that's not enough. The trailer did a good job of pulling me into the theater. But "Tag" would have made a better documentary.

Oceans 8 - 3 smiles

"Oceans 8" is lots of fun, a heist movie with an all-female cast, one that follows the Ocean's blueprint with a highly decorated cast (three Oscar winners, an Emmy winner and an eight-time Grammy winner) taking down a major score. The film is slick, efficient and clever enough to stay a step or two ahead of the audience. If you're looking for too much more, you should find a different movie. Sandra Bullock is Debbie Ocean, sister to Danny (George Clooney in Steven Soderbergh's three Oceans movies). Debbie is just getting out of prison as the movie opens, and Danny, we learn, has recently died under mysterious circumstances. Not long after Debbie's release she's planning a big job and she first goes to Lou (Cate Blanchett), who plays Brad Pitt to her Clooney. Debbie explains to Lou that she plans to steal a $150 million diamond necklace from the annual Met Gala, the swankiest get together on the social calendar. Lou has her doubts, but she eventually goes along with the plan. They assemble  crew comprised of Rose Weil (Helena Bonham Carter), a down-on-her-luck fashion designer; Amita (Mindy Kaling), a diamond expert; 9-Ball (Rihanna), hacker; Tammy (Sarah Paulson), fence; Constance (Nora 'Awkwafina" Lum), pickpocket. Their mark is Daphne Kluger (Anne Hathaway), an actress who will be attending the Gala. The plan is for Rose to design her outfit and to get Cartier to loan her the prize necklace and then swipe it when the time is right, replacing it with an imitation. For their troubles, everyone walks away with a cool $16.5 million.

Director Gary Ross is faithful to Soderbergh's Ocean trilogy and keeps things moving along at a zippy pace. There's not much time for character development although Hathaway's spoiled actress gives her the most to chew on. The heist is pulled off with precision, but there's little sense of danger or failure (a little more tension would have been good). And while James Corden's insurance investigator is sharp, he poses little threat. "Ocean's 8" is a good time and that's why you would see this movie.

Hearts Beat Loud - 3 smiles

"Hearts Beat Loud" refuses to get overly sentimental and that's the main reason (along with the music) to enjoy this movie about a father (Nick Offerman) and his soon-to-be-off-to-college daughter (a wonderful Kersey Clemons). Frank (Offerman) runs a failing vinyl record store in Red Hook, NY and dwells on the music career he almost had. And although his daughter, Sam (Clemons) is a top-notch singer, she wants to be a doctor so she's heading to UCLA. In the few weeks before she leaves, Frank convinces her to collaborate on a few songs, with Frank on guitar and Sam on keyboard and vocals. Having lost Sam's mother 11 years ago in a bike accident, Frank finds himself at loose ends, but they grow closer as they share a genuine love of music.

Director Brett Haley doesn't do enough to service every character, however. We only see a bit of Blythe Danner as Frank's growing forgetful, shoplifting mother and Ted Danson's character is one-note as Frank's pot smoking friend. But Sam's first love, with Rose (Sasha Lane), is tender and bittersweet. The songs by Keegan DeWitt are catchy enough that you could easily understand why the father-daughter combo could catch music fame. "Hearts Beat Loud" is not particularly challenging, but it has a definite comfort quality to it with an ending that seems totally realistic.

Deadpool 2 - 3 smiles

The question about a sequel is whether it will be good enough to avoid embarrassing everyone involved.  The original Deadpool was the first R-rated superhero movie full of snark and audacity that was a surprise box office hit. Fortunately for "Deadpool 2," star Ryan Reynolds and the creative team give us more of what made the first so enjoyable. It's funny, energetic and determined not to take itself seriously. There's a James Bond-like opening musical number (song courtesy of Celine Dion) complete with Deadpool-inspired fake credits that act as a commentary on the prologue. The story that evolves from there pits Deadpool against Cable (Josh Brolin), throws in some other Marvel characters (who become X Force) and gives our self-deprecating hero more insight into his belief system.

"Dead pool 2" sticks to the template established by Deadpool so the fourth wall isn't much of a barrier with the title character frequently addressing the audience. And there are a few cameos, including one that's so quick if you blink you miss him. (Hint" it's Brad Pitt.) Pay attention to the soundtrack because you'll see a fight scene choreographed to Dolly Parton's "9 to 5." Plus unusual uses for "(The Sun'll come Out) Tomorrow," "If I Could Turn Back Time." "In Your Eyes" and "All Out of Love." So....."Deadpool 2" is successful because you get what you expect. But if there's another Deadpool, the writers will need to come up with something new or it will be 'been there, seen that.'

Note: 2019 will see an X Force movie that will include Deadpool; (Ryan Reynolds), Cable (Josh Brolin), Domino (Zadie Beetz), Colossus (Stefan Kapicic), Teenage Negasonic Warhead (Brianna Hildebrand), Russell (Julian Dennison) and Yukio (Shioli Kutsuna). If you see "Deadpool 2," you know who these characters are.

Avengers: Infinity War - 3 1/2 smiles

"Avengers: Infinity War" loses a 1/2 star because it's part 1 of 2. And at an exhausting 150 minutes, you still have to wait until May, 2019 to see the conclusion. (Do I sound miffed?) This movie is overstuffed with plot, characters and a larger-than-life villain. Perhaps a villain to end all villains. After all, he snaps his fingers and half of the world's population dies. The story careens between New York, space, Wakanda and other locations and the battles are more brutal than we're used to. The overarching narrative is that uber-villain Thanos (Josh Brolin) is coming, and unless he's stopped, he will bring with him a universal apocalypse. His goal is to collect the six Infinity Stones. Once he gets them, he will have the power of a god and no living entity will be able to stop him. It's up to the Avengers, the Guardians of the Galaxy and other Marvel Comics Universe heroes to thwart him.

Much of the screen time is devoted to battles although there are a few moments, mostly early in the film, where we get some exposition and character interaction. The CGI is spectacular, if not overdone at times. If you're a fan, you've already seen "Avengers: Infinity War" at least once. If you're not a fan, I'm sure you don't understand what all the fuss is about.

Overboard - 2 smiles

I can't understand why movie studios think that remaking a mediocre movie will result in box office success. Like "Overboard." The original, a 1987 production starring Goldie Hawn and Kurt Russell, was mostly a failed comedy that worked mainly because of the charm of the leads. So you remake that movie, but you don't have Goldie Hawn and Kurt Russell. Instead, you twist it so instead of the low-class working guy kidnapping the rich bitch white woman, this version gives us the working girl kidnapping the amnesiac rich asshole Mexican guy. Other than that, the new film proceeds pretty much the same way the old one did. Kate (Anna Faris) and Leonardo (Eugenio Derbez, a big star in Mexico), meet when she is called to clean the carpets of his yacht after a party. Following some 'cute' banter, the two argue and Leonardo pushes Kate overboard. Later, after falling off the yacht at sea and washing ashore with no memory, he is tricked by Kate into believing that they are married. She uses this as an opportunity to stay ahead of the bills while she studies for her upcoming RN tests. Leo, after some initial resistance, falls in love with hard-work, Kate's three daughters and, of course, Kate herself. Kate, meanwhile, can't bear to tell him the truth for fear she'll lose him.

Interestingly enough, Anna Faris is effective as Kate, a woman at her wits end in terms of taking care of her daughters, working two jobs and studying. It's easy to understand why Derbez is popular in Mexico, but these two lack chemistry. There's no sexual tension or romantic spark. And there's nothing to encourage us to accept the miraculous transformation Leo undergoes from self-centered jerk to hard-working, caring family man (other than wanting a happy ending). And director Rob Greenberg obvious use of the three young girls to manipulate an emotional audience response is unacceptable. The script is supposed to do this naturally. "Overboard" is a pale imitation of an original that want that great to begin with.

Life of the Party - 3 smiles

I liked "Life of the Party," starring Melissa McCarthy, more than I thought I would. I usually prefer my comedies without the usual 'shtick' that happens in her movies. And although this move has some slap stick, it has a lot of heart, telling the story of the deep bond between mother and daughter. The concept of an older person going back to college isn't new. (We've seen Rodney Dangerfield and Will Farrell do it before.) Forty something Deanna (McCarthy) is dumped by her husband for a blonde real estate agent. Suddenly homeless and not sure what to do with her life, Deanna decides to return to Decatur University and finish the last year of her archeology degree she suspended when she became pregnant with Maddie (Molly Gordon). Deanna lives in a dorm  with a quirky roommate while Maddie lives in a sorority house. Fortunately for Deanna, Maddie's sorority sisters adore her mom. Deanna finds herself enjoying the fringe benefits of college as much as the classes and she starts up a relationship with Jack (Luke Benward), a guy half her age, and develops a rivalry with a couple of campus 'queen bees.' And, while a whiz in her classes, her fear of public speaking results in her undoing for the oral presentation. "Life of the Party" consists of loosely connected sketches showing various aspects of a single mom exploring (and enjoying) a return to college life. And if some of the jokes fall flat, it's all harmless fun and a great way to spend a Friday afternoon at the movies.

Red Sparrow - 1 smilen

"Red Sparrow," starring Jennifer Lawrence, is a trashy espionage movie full of graphic violence, over-the-top plot and underdeveloped characters. The convoluted plot, culled from novels by former CIA operative Jason Matthews, is so hard to follow that at the halfway point, I just gave up. Lawrence plays Dominika Egorova, a Russian ballerina who is crippled by another dancer while on stage. With her career destroyed, Dominika has to find another way to support her invalid mother so she turns to her Uncle Vanya (not joking, here), a sleazy sexual predator and mass murderer who also happens to be one of Russia's leading super spies. Vanya, a vision of consummate evil played with creepy sensuality by Matthias Schoenaerts, ruthlessly recruits his niece into a secret organization dedicated to turning attractive Russian boys and girls into sex machines called Red Sparrows, spies who will do anything with their bodies to seduce their victims into surrendering information. The training program is run by a cold, efficient and amoral task-master (Charlotte Rampling), who proves successful in turning Dominika into a first-rate spy who is raped and mutilated across Budapest, Moscow, Vienna and London while tracking an American CIA operative, Nate Nash (Joel Egerton), to discover the identity of a mole in the Russian government.

The torture sequences (including rape and a scene where Russians use what looks like a medieval cheese grater to shred skin from Nate's body) are so gruesome that you wonder why this only has an R rating. There's little chemistry between Lawrence and Egerton although they work hard to bring the movie to life. "Red Sparrow" tries to take advantage of the current anti-Russian sentiment so it's no surprise that Schoenaerts looks alarmingly like Vladimir Putin. The movie is stylish and tense enough, but it has no soul.

A Wrinkle in Time - 2 1/2 smiles

One of the most enjoyable reasons for reading a book is that you can imagine what is happening on the written page and it doesn't interfere with the author's plot and, ultimately, message. Director Ava DuVernay has created a wonderful phantasmagorical visual feast (swaying gardens of gossiping flowers,  Mrs. Whatsit (Reese Witherspoon) turning into a flying leaf, the beautiful, motherly Mrs. Which (Oprah Winfrey) and her jeweled eyebrows), but the uneven pace of the screenplay and over reliance on CGI makes "A Wrinkle in Time" a disappointment. Not until the movie reaches its midpoint and the main story kicks into gear does the film's narrative accelerate. DuVernay's strength with interpersonal relationships and character-building is evident. The strongest scenes are the most intimate ones, including a moment between Meg (Storm Reid) and her father (Chris Pine). Unfortunately, DuVernay makes the mistake of believing that just because the screen is filled with wondrous special effects that the audience is going to be satisfied. Eye candy doesn't equate with quality of story.

Jennifer Lee and Jeff Stockwell's script captures most of Madeleine L'Engle's main plot, but the resulting story feels rushed and artificial and lacks the charm and wonder of the novel. Storm Reid is very effective as Meg; many scenes work because she sells them with a natural performance. Also impressive are Chris Pine and Gugu Mbatha-Raw as her parents, although their scenes are limited. Unfortunately, the three A list stars (Winfrey, Witherspoon and Mindy Kaling) receive too much focus and detract from the overall intent of the movie. "A Wrinkle in Time" feels like a labor of love and, on those rare occasions, works when special effects take a back seat to genuine expressions of emotion and humanity.

Death Wish - 1 smile

"Death Wish," a remake of a Charles Bronson 1976 movie starring Bruce Willis, comes at a bad time what with all of the protests against guns and the high number of people killed by guns. Rather than exploring the issue of vigilantism (which is getting a lot of attention in the wake of the latest high school shooting and suggestions of allowing teachers (!!) with concealed carry permits to come armed into their classrooms), director Eli Roth elects to stay true to the original's outline, providing a violent exploitation film that does nothing to explore today's issues. Dr. Paul Kersey (Willis) is an ideal guy, a hard-working surgeon who doesn't differentiate between cop and robber when they're on his table. He has a loving wife, Lucy (Elisabeth Shue) and a college-bound daughter, Jordan (Camila Morrone). His life comes crashing down when he's working late one night, covering for a sick colleague. A trio of criminals breaks into his house, kills Lucy and brutalizes Jordan where she ends up in a coma. Kersey is frustrated by the slow progress of the police (Dean Norris and Kimberly Elise). When he comes into possession of a gun, he learns how to use it and although his eventual goal is to find and kill the men who destroyed his family, he dispenses justice on other occasions, saving a carjacked woman and killing a drug dealer. He becomes a social media sensation, 'The Grim Reaper' and the subject of morning radio.

Joe Carnahan's screenplay is based on the Brian Garfield novel and the 1974 script. Garfield was said to be displeased with the Bronson movie because the anti-vigilantism message of his book was reversed, making Kersey the hero. Roth does nothing to change things, presenting Kersey as a tragic, but heroic figure. Willis has developed a lot of audience good will with his Die Hard and Red movies so it's a little hard to accept him an an 'everyday Joe,' pushed beyond the ordinary boundaries of human tolerance. Vincent D'Onofrio plays Kersey's ne'er-do-well brother, but his character seems more filler than contributing any significance to the plot. "Death Wish" is a throwback, much too similar to the original and really not necessary. Wait for cable if you really want to see it.

Black Panther - 4 smiles

"Black Panther," with its creative visuals, engaging actors, likable characters and current themes, stands out as one of the best movies to date. It's relatively rare to see a major blockbuster film starring an African-American protagonist, let alone a superior supporting cast that is also overwhelmingly African-American. In addition, it has an African-American director, writers, musicians and many other artists behind the scenes, proving that a movie featuring a black cast can perform well at the box office. Prince T'Challa (Chadwick Boseman), introduced in Captain America: Civil War, returns home to Wakanda after the death of his father, King T'Chaka, where T'Challa must fight a series of adversaries to retain the crown and the title of Black Panther. Wakanda, known as a 'third-world country' outside its borders, is hidden behind a cloak of deception for years. It is really a technologically advanced superpower, rich in vibranium, an alien metal. Vibranium powers everything in the African country that holds itself apart and above worldly concerns. Enter Erik Killmonger (Michael B. Jordan), full of American swagger and entitlement. He wants everything Wakanda has and will stop at nothing to get it.

Director Ryan Coogler, while remaining faithful to T'Challa's back story, takes the film in some unexpected directors. Sure, there's lot of action, but it's mixed with more serious-minded and thought-provoking material, embracing inclusion and rejecting notions of isolation, nationalism and imperialism. Jordan's Killmonger is the scariest type of villain, full of righteous fury and deviousness, making it easy to understand (and maybe even sympathize with) his objectives. Boseman is exceptional as T'Challa, the king who understands the importance of tradition but also knows that he has a responsibility to those less fortunate. Letitia Wright (T'Challa's sister, Shuri) steals every scene she's in so here's hoping we see more of her in the future. Lupita Nyong'o and Danai Gurira have key roles and portray strong women. Coogler flips tradition on its head by casting Martin Freeman as the token white character (and he's good, too). Although the movie's structure is rooted in the superhero tradition, the production rarely feels limited by that classification. "Black Panther" achieves a grandeur that's nothing short of exhilarating.

Film Stars Don't Die in Liverpool - 1 smiles

Despite some good acting, "Film Stars Don't Die in Liverpool" is not easy to watch with it's downbeat tone and difficult subject matter. The film, which focuses on the relationship between a young actor, Peter Turner (Jamie Bell) and his much older (and more famous) lover, Oscar-winning Gloria Grahame (Annette Bening), spends too little time establishing their relationship to understand the pain that results when Peter becomes Gloria's caregiver. Most of the film jumps back and forth in time, showing various stages of their affair and creating lots of confusion in chronology and plot.

Because the script is based on Peter Turner's memoir, director Paul McGuigan concerns himself with the cliches of the May-December romance and of a love story cut down by illness rather than focusing on Grahame in the last days of her life. The film shows little interest in the inner workings of a relationship that's defined by unusual circumstances. And when Turner brings Grahame home to his working-class family, his parents are incredibly unperturbed by their son's relationship with a troubled, much older, legend. This movie belongs to Bening as she imbues Grahame with self-awareness, dignity and desperation. She is a complex character and not entirely sympathetic. Unfortunately, Bening and Bell lack the chemistry to transcend the film's weaknesses, including Bell's rather bland performance. "Film Stars Don't Die in Liverpool" is a basic biopic and I wouldn't rush out to see it.

The Post - 4 smiles

"The Post" tells the story of how The Washington Post, a local daily with little national prominence, transforms itself into an important bastion of investigative journalism by defying the Nixon administration in publishing excepts from The Pentagon Papers. Although the events in Steven Spielberg's movie happened 46 years ago, they find surprising relevance in today's political climate. Most presidents have had adversarial relationships with the press and more than one bemoaned the latitude resulting from the First Amendment, but, until Nixon, none tried to stifle the free press. Now, less than half a century later, we face similar growing concerns. "The Post" provides us with a history lesson with the hope that, by remembering what happened in 1971 and how important it was to the integrity of the government, we won't again attack the free press for doing their job.

Spielberg is a great storyteller and in his capable hands, we learn how The Washington Post landed on the front lines of The Pentagon Papers battleground (along side The New York Times). The movie tackles the story from two angles that eventually converge. Never has a conference call been so suspenseful. Prior to that, however, we follow the actions of The Washington Post's timid owner, Kay Graham (Meryl Streep), to steer the paper along a conservative course as it prepares for an IPO that will provide a needed infusion of cash. Meanwhile, Ben Bradlee (Tom Hanks), after doggedly tracking the so-called 'Pentagon Papers' (a Department of Defense history of the US involvement in Vietnam from the Truman through Eisenhower administrations), comes into possession of the entire 4,000-page document and has an opportunity to uncover one of the many damning stories and take it to print. His aggressiveness throws The Washington Post into a legal quagmire that pits the paper against the Nixon administration in court and threatens jail time for many of the key players. Kay is faced with a choice: allow Ben to go forward or put the breaks on the story. The acting is top notch. Both Hanks and Streep are skilled performers and they give Oscar-worthy performances. And Spielberg is meticulous in his recreation of a 1970s-style newsroom and his portrayal of how papers were typeset and printed before there were computers. And for the two occasions Nixon is on screen, Spielberg uses the back of an actor and Nixon's voice as preserved on tape. "The Post" is reminiscent of Spotlight, which captured the 2016 Oscar. Both films extol the importance of investigative journalism and when there are powerful push-backs, that's when the First Amendment is at its most important. "The Post" offers a stirring reminder of those heroes who protected the American way of life.

Jumanji: Welcome to the Jungle - 3 smiles

"Jumanji: Welcome to the Jungle" is a pleasant surprise. Although the Rock flexes his biceps and exudes charisma, Kevin Hart does the kind of comedy he's good at and Karen Gillan is solid as the fighter, the show stealer is Jack Black, whose gender-confused wilderness explorer is not only consistently funny but proves he really can act. Four high school students, geek Spencer Gilpin (Alex Wolff), football player Fridge Johnson (Ser'Darius Blain), popular Bethany Walker (Madison Iseman) and mousey Martha Haply (Morgan Turner), are serving detention by cleaning out the basement at their school. There, they find the Jumanji video game, where they assume the avatars they have chosen. Spencer becomes muscle-bound archeologist Smolder Bravestone (Dwayne Johnson) and Fridge loses two feet of height as Smolder's sidekick 'Moose' Finbar (Kevin Hart). Martha jumps way up on the hotness scale as Ruby Roundhouse (Karen Gillan) and poor Bethany transforms from a svelte, curly blond into a pudgy middle-aged man, Professor Shelly Oberon (Jack Black).

It doesn't take them long to figure out that they're playing Jumanji for real and they have limited lives before its 'game over' and winning requires progressing through increasingly difficult levels, solving riddles and eventually battling the Big Boss, bad-to-the-bone Van Pelt (Bobby Cannavale).  Because the characters all start out with three lives, we get to see each of them die at least once, sometimes in amusing ways. And Black's impersonation of a girl is equal parts hilarious and spot-on. He steals every scene he's in. Director Jake Kasdan keeps things moving although the pace suffers in the beginning. "Jumanji: Welcome to the Jungle" is a fun way to spend an afternoon.

Phantom Thread - 1 1/2 smiles

"Phantom Thread," starring Daniel Day-Lewis in, he has said, his last role, is the story of a selfish, headstrong haute couture designer. While Paul Thomas Anderson's movie is meticulously constructed and exquisitely performed, it is ultimately self-indulgent and morally empty. The focus is on the central character, a man driven by the impulse to create, but Anderson never explores Reynolds Woodcock's (Day-Lewis) motives or the ideas behind  his creations. We see more about his jealous reaction to a customer buying dresses elsewhere and his irritated reaction to toast being buttered too loudly.

We learn early in the film that Woodcock tires easily of his live-in lady friends and that it is his capable sister Cyril (Lesley Manville) who not unkindly informs his latest that her services are no longer required. Woodcock visits the country where Alma (Luxembourg actress Vicky Krieps), a waitress, catches his attention. Soon she becomes the next lady to rotate in. However, she has no intention of rotating out and she ultimately proves that the submissive is really the dominant in their relationship. Unfortunately, this twist and the nutso ending really ruins the movie. Day-Lewis is extraordinary, of course. And Manville's Cyril is shrewd but not unsympathetic to the people she has to manipulate. Krieps is fine as Alma, who wants what she wants the way she wants it, not necessarily the way he wants it. Nonetheless "Phantom Thread" is a disappointment.

Paddington 2 - 3 1/2 smiles

"Paddington 2" is a delightfully heartwarming tale about everyone's favorite marmalade-loving bear. Ben Whishaw returns as the voice of the beloved ursine hero, as do many of the faces who made up 2015's original film. This time around, Paddington is living in London with his new family, the Browns, and he's saving up to buy an antique pop-up book for his Aunt Lucy's birthday. When a burglar steals the book from a shop one night, Paddington goes in pursuit, only to be mistaken for the thief and sentenced to jail time. The real culprit is his neighbor, washed-up actor Phoenix Buchanan (Hugh Grant), who wants the book to help fund a one-man show. It's up to Paddington and the Browns to find the evidence linking this preening master of disguise to the crime and clear Paddington's name.

Paddington moves through London spreading generosity, joy and acceptance and no one seems to care that he is a bear. This powerful message never seems preachy and is cleverly woven throughout the movie. Even when Paddington is in jail and winning over the prison's cantankerous cook, Nuckles McGinty (Brendon Gleeson), this whimsical tale will make you smile. And with our world going a little off kilter, "Paddington 2" is a breath of fresh air.

All the Money in the World - 2 smiles

I have to admit that I was distracted through much of "All the Money in the World." Director Ridley Scott replaced Kevin Spacey with Christopher Plummer as J. Paul Getty, reshooting key scenes at a reported cost of $10 million. (We know that Mark Wahlberg got $1mil and Michelle Williams got $1,000. And while Scott made an obvious statement about sexual harassment, he also revealed something about Hollywood's male/female salary inequality.) I kept looking for awkward transitions with Plummer and it's to Scott's credit that the movie flows as smoothly as it does. The story is loosely based on the real life kidnapping of John Paul Getty III (Charlie Plummer), grandson of tight-fisted billionaire J.P. Getty (Christopher Plummer, no relation) by Italian mobsters. For the teenager's safe return, the criminals demand a $17 million ransom. However, Paul's mother, Gail (Michelle Williams), has no money and Getty is unwilling to part with even a fraction of what is being demanded, declaring that he would be setting a precedent for his 14 other grandchildren if he pays. Instead of offering money, he dispatches his chief of security, ex-CIA agent Fletcher Chase (Mark Wahlberg) to find and retrieve Paul.

The scenes featuring Paul in the hands of his kidnappers and detailing his interaction with the sympathetic Cinquanta (Romain Duris) seem too staged and artificial. The focus on Gail and Fletcher as they attempt to locate Paul lack suspense and it's hard to relate to Fletcher in any way. Williams is effective as a mother frantic for her son's return, but the script gives her little than this one note to play. The movie shines when Plummer is on the screen because Getty is by far the most compelling character in the film. Unfortunately, this creates an imbalance because a supporting character isn't supposed to grab so much attention. Plummer's Getty is cold and amoral, a man more interested in acquiring 'things' than seeing to the well being of his family. Ultimately, the scandals surrounding "All the Money in the World" are more interesting than the movie itself.