Starring: Woody Harrelson, Laura Dern and Judy Greer
Directed by: Craig Johnson
Rated: R
Running time: 1 hr 34 mins
Fox Searchlight

Our Score: 3 out of 5 Stars

First off let me inform you that this is NOT the movie we’ve all been waiting for detailing what happened to Tom Hank’s volleyball buddy in “Castaway.” And no, I don’t think I’m the only one who was upset when I learned the news.

Everybody knows a Wilson (Harrelson). He iust goes along with his life until it’s time to do something with it. His choice is to make amends with his ex-wife, Pippy (Dern). Imagine his surprise when he discovers that, instead of being fat and frumpy, Pippy is actually quite beautiful. Beginning to believe that his luck may be changing, Wilson learns that Pippy never had the abortion she left home to have. Instead she had a baby girl and gave it up for adoption. Wilson is amazed. He has a daughter!

Carried along by a brilliant performance by Woody Harrelson, “Wilson” is based on the very dark graphic novel by Daniel Clowes. Wilson is set in his ways and can’t understand why complete strangers refuse his friendly conversation starting. As he and Pippy begin to reconcile they decide to “find” the daughter they gave up 16 years ago, which has mixed results.

If you’re looking for a quirky comedy to help your day go by, feel free to spend some time with “Wilson.”

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Starring: Tom Hiddleston, Brie Larson and John C. Reilly
Directed by: Jordan Vogt-Roberts
Rated: PG-13
Running time: 2 hrs
Warner Bros

Our Score: 3.5 out of 5 Stars

There are two funny stories attributed to the late producer Dino De Laurentiis, who produced the 1976 remake of “King Kong.” The first is that, every time his film was compared with “Jaws” he would comment on how “nobody cry when the Jaws die”…and that audiences would be weeping at the end of his film. The other is when he first met producer John Peters, who was not only dating Barbra Streisand at the time but had produced her film “A Star Is Born.” Both movies opened on December 17, 1976 and Peters congratulated Dino on “Kong” out grossing “A Star Is Born.” “I’m not surprised,” De Laurentiis is said to have commented. “My monkey can act!”

1973. As the war in Vietnam winds down, a group of soldiers, led by Colonel Packard (Samuel L. Jackson) is chosen to accompany a group to a recently discovered island on a trip funded by the United States government. Finding the island surrounded by horrible weather and storms, the group takes a few helicopters out to make the journey from ship to land. On the way they encounter a big problem. A problem named Kong.

Though it seems like the big ape has been around forever, this is only the eighth film to feature him and the first since Peter Jackson’s remake of the original 1931 classic over a decade ago. Some people didn’t like Jackson’s version but I thought it was well made and really made Kong a sympathetic character. The same holds true here. We learn that Kong is really less of a bully and more of a protector of the indigenous people living on Skull Island. There are lots of creatures roaming around, from lizard-like monsters to giant octopi. But nothing is as big of a threat to the big beast than Colonel Packard, who takes Kong’s protective attack on his choppers as a declaration of war.

Though you really don’t go to a movie like this to see the actors, the cast here is quite good, including a rather dashing looking Hiddleston, strong-willed photographer Larson and World War II vet Reilly, who is truly the heart of the film. Reilly’s former soldier has been on the island since the end of World War II and it’s fun to watch him learn about the world ahead of him while he tries to save the one he’s involved in. Ironically the weakest part of the cast is Jackson, who here plays…Samuel L. Jackson. Clever comments, like “bitch, please” roll from his lips as he continues to plan Kong’s demise. And while Kong isn’t all over the film he appears enough to remind you who’s King. The action is intense and the special effects are well done.

What’s next? Stay through the end credits and find out!

Starring: Dan Stevens, Emma Watson and Luke Evans
Directed By: Bill Condon
Rated: PG
Running Time: 129 minutes
Walt Disney Studios Motion Pictures

Our Score: 4.5 out of 5 Stars

Disney has effortlessly remade one of its greatest films. That in itself should be commended because of the power that “Beauty and the Beast” still holds for old and young fans of the Disney brand. The 1991 animated classic still has some of the best theatrical music in their catalogue. It also has a story that managed to retell a fairy tale classic while thumbing its nose at formula, something that still feels fresh over a quarter of a century later. So how did Disney recapture the magic?

The sincerity by everyone involved is clear from the costume and set designers to the cast populating the screen. Emma Watson’s portrayal of Belle is spot on, from her obvious attractiveness to Watson matching Belle’s powerfully independent demeanor with stoic glares and gentle warmth in her eyes. There is subtle personality changes that evolves Belle from the two-dimensional hand-drawn character of yesteryear into a three-dimensional character grounded in reality that dances off the screen.

As for Dan Stevens, he had a tougher time capturing the brutish nature of his character, since the Beast is CGI. While I’d be willing to place bets that his voice was digitally tinkered with, Stevens’ ruffs, gruffs, and even singing, makes him stronger than Robby Benson’s portrayal back in the early 90’s. It also helps that we get a lot more backstory behind the Beast’s character and an extra layer of geniality beneath the coarse fur and fangs.

Going in I had my doubts that Luke Evans could play such a vain, muscular villain like Gaston, but luckily I was proven wrong by his character’s roguish suaveness and cunning wickedness. Josh Gad pairs with him nicely as a much more good-natured LeFou in this update. The cutlery and castle furniture are just as charming as their voice actors, Ian McKellan, Stanley Tucci, Audra McDonald, GuGu Mbatha-Raw, and Ewan McGregor, who’s leading the way as the talking candlestick, Lumière. McGregor doesn’t disappoint when he voices the show stopping “Be Our Guest.”

The story remains true to the original, scrambling up a few pivotal moments, adjusting pacing, sewing in ideas from the Broadway adaptation, and taking some creative liberties (which I’m sure you’ve read or heard about one in particular in the media by now). After 25 years, it makes sense that some nuts and bolts have to be shifted and modernized, but it never forsakes the heart and spirit of the movie. The story’s soulful mix of romance and music remains intact.

There are about 30 more minutes of content that gives the audience a deeper of understanding of the characters, and not just our two lovebirds. We relate and feel more for the talking furnishings and silverware more than we did previously. While purists might fold their arms and slouch in their theater chairs in disgust over these changes and the vision, others will be enchanted by this interpretation, finding something there that wasn’t there before.

“Beauty and the Beast” is a magical retelling that will make fans of young ones and make Disney loyalists fall in love with the story all over again. While the original is still the standard bearer for Disney storytelling and animation, this 2017 version isn’t without its own merits. The 21st century “Beauty and the Beast” is a lot more melodic and even more visually extravagant without ever being gaudy. Its familiarity makes it a must-see, but its newfound charm makes it an instant classic for newcomers.

Starring: Anna Kendrick, Lisa Kudrow and Craig Robinson
Directed By: Jeffrey Blitz
Rated: PG-13
Running Time: 87 minutes
Fox Searchlight Pictures

Our Score: 3 out of 5 Stars

The indie dramedy genre is generally characterized by it’s portrayal of a dysfunctional family, a haphazard group of friends or a bumbling arrangement of strangers in a scenario where there are multiple revelations, declarations and betrayals, soaked in sappy sentimentality and feel-good moments. Very rarely do the movies give audiences a cathartic release or genuinely move our hearts and soul. However, a few do. “Little Miss Sunshine” comes to mind. But most of these films are a dime a dozen, floundering on their own predictability or offering audiences brief, but humorous escapism. “Table 19” does both.

“Table 19” is named after the wedding table where the people who got an invitation, but should have known better and declined the offer, showed up. It’s the final table to be set and have it’s food delivered at the wedding. It’s brushed to the corner of the banquet hall, near the bathrooms and out of sight. The table 19 occupants are equally as random as their connection to the bride or groom. It almost makes you wonder if the nicer thing would have been to just never have sent an invitation at all.

There’s the heart-broken, former best friend of the bride and ex-maid of honor, Eloise (Kendrick). To her left is the Kepps, Bina (Kudrow) and Jerry (Robinson), whose marriage is struggling so bad they don’t even bother keeping up the appearance of smiling happiness or tolerable hatred anymore. To Eloise’s right is the adolescent Rezno (Tony Revolori), who’s only at the wedding because his mom didn’t think he had a chance of scoring a date or dance at his junior prom. Rounding out the table is ex-convict, Walter (Stephen Merchant) and a nanny from the past, Jo (June Squibb).

There’s a lot of emotion and backstory to unpack, but “Table 19” reveals a lot of it without sacrificing a handful of entertaining moments. Most of it unfolds naturally, in a manner that’s logical to the scant plot. Jerry loves mystery novels and wonders why such an oddball group would be stuck at the worst table. Eloise provides the answer, while withholding some secrets as to why she, a jilted lover, would bother showing up to the wedding her ex-boyfriend is at and why the couple even broke up in the first place.

Kendrick, as usual, is bubbly, likable and cute. It’d be interesting to see if she’d be able to pull off the villain in a movie someday. Merchant’s awkwardness as Walter provides some much needed comic relief that isn’t Jerry’s sardonic bluntness about the whole situation. The audience will surely relate with a lot of the characters on screen, but only because their plights are so generic. Despite my complaints about its reliance on indie tropes, I found myself enjoying the funny quirks each character carried as well as how the story resolved. The conclusion is the one thing I couldn’t quite predict.

The movie is written by the Duplass brothers, who’ve worked on a lot of indie dramedies, some bad and some well-written. What’s missing from their brand is the uncomfortable comedy that should be populating their envisioned settings. That’s where director Jeffrey Blitz comes in, whose work includes episodes of “The Office.” Together, the writers and director, create a passable movie, skirting on secondhand embarrassment, but nothing memorable or outstanding.

“Table 19” has some heartfelt performances and some jaunty comedic moments, but too often it finds itself lost in its own plotting and backstory. Sometimes it’s difficult to tell if we’re supposed to enjoy the characters company because they’re emotionally disfigured buffoons or sympathetic damaged souls. Even at 87 minutes, it feels like it takes too long to tell a simple story. At times its sappy like any love story culminating at a wedding, but sometimes you feel like you’ve shown up to a wedding you don’t want to be at.

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Starring: Zoey Deutch, Halston Sage and Cynthy Wu
Directed by: Ry Russo-Young
Rated: PG-13
Running time: 1 hr 39 mins
Open Road Films

Our Score: 0.5 out of 5 Stars

It was less than a month ago when, commenting on seeing the worse film of 2017, I included the following in my review of “The Space Between Us:”

“Thankfully I think I’ve found my winner for 2017 so the next 11 months of movie-going should be enjoyable for me.”

To the cast and crew of “The Space Between Us” I extend my sincere apologies.

I can sum this film up in one sentence: Imagine if a group of people got together and decided to make the worse movie possible based on the premise of the film “Groundhog’s Day.”

We meet moody teenager Samantha (Deutch) as she is awakened by a text that reads “Happy Cupid’s Day.” She is greeted repeatedly with this comment, often followed by, “or as you call it, Valentine’s Day.” Which would be nice if the date on the phone didn’t clearly read February 12. Oops. Anyway, she heads to school with her three idiot friends – I had so little interest in them that I didn’t even make the effort to look up their names – who are obviously the “cool” girls of the school. Tonight is the big night because Samantha is going to have sex with the dreamy Rob. Sam gets a rose from a classmate but ignores it. She spends her lunch hour picking on the “weird” girl then finds herself at a party. Finding Rob disappointing she leaves the party with her gal pals. Then she dies. Or does she?

I’ll have to admit that for the first few minutes of the film I thought it might be interesting. I was reminded of the film “Carrie” when I noticed the quartet of girls were very similar to the leads in that 1976 film. Sam is Sue Snell, the good girl played by Amy Irving. She is surrounded by girls similar in character to the ones played by Nancy Allen, P.J. Soles and Edie McClurg. Make the “weird” girl Carrie and you’re set. Sadly, the film and its makers are not that clever. “Before I Fall” is a film that is so bad it’s almost insulting to the audience. So many teen movie tropes fill the screen that you almost have to brush them away to see what’s happening. The acting is wooden and the laughs are almost non-existent. Except to the three ladies who sat behind me who guffawed as if they had just walked into a comedy club with Robin Williams on stage every time one of the gals hands Sam a condom and comments “no glove, no love.” HA-HA-HA!

Time after time the condom is exchanged, things happen and Sam dies. It gets to the point where, as soon as the “new” day begins you’re hoping Sam will just die in bed. I haven’t been so anxious to see a character die on screen since I rooted against the shark in “Jaws.”

Damn it, Mike, isn’t there ANYTHING positive you can say about this film? Yes there is. I was impressed with Elena Kampouris, who plays the “weird” Juliette. Both she, and her character, deserved a better fate then this film.

Starring: Daniel Kaluuya, Allison Williams and Catherine Keener
Directed By: Jordan Peele
Rated: R
Running Time: 103 minutes
Universal Pictures

Our Score: 4 out 5 Stars

Something’s not right. It’s not just the subtle and blatant racism by Rose’s (Williams) family, but it’s the growing sense of dread that the audience experiences through the eyes of Chris (Kaluuya). Every other African-American that Chris encounters wears clothes straight out of a Norman Rockwell painting and speaks in uncomfortable pleasantries. Even worse is that when talking to these African-American’s Chris feels like he’s talking with every other white person he’s encountered at the family event.

Despite the blunt, and comedic, warnings of one of his friends, Chris is visiting the relatives of his five-month girlfriend. Rose tells him that she hasn’t mentioned she’s dating a black guy to her family, but she assures him it’s perfectly OK. She even tells him that her father (Bradley Whitford) would have voted for Obama for a third time if he could have. He later shoehorns that racially motivated banter into conversation as a way to get to know her daughter’s new boyfriend, as if her father assumes all black people voted for the 44th President. The awkward remarks and comments aren’t fooling Chris though. Something’s definitely not right.

For those familiar with Jordan Peele, who’s worked in television sketch comedy for over a decade, it might come as a surprise that his directorial debut is satirical horror, that’s a lot heavier on the tension than it is the jokes. The comedy is served up as a way to divide viewer apprehension, which there’s plenty of. Peele has a keen eye for unnerving the audience with numerous close-up shots, specific musical arrangements in even more specific spots, and performances that convey a sinister plot hidden deep in suburbia.

Peele, throughout his comedic career, has dropped muted and blunt horror movies references and “Get Out” is no different. For horror aficionados, there are plenty of nods, homages and stylistic choices reminiscent of Wes Craven, Stanley Kubrick and others. But for those in on the trick of the trade, you’ll find more to “Get Out” than its director’s love of scares as the film progresses. The social and racial commentary is sprinkled throughout and just not in Rose’s eerie, grinning family.

Chris, as well as his friend who keeps in constant contact with back home, seem to be the only ones that understand racism is still a thing. It’s seen early on with a policeman taking a statement after Rose hits a deer with her vehicle. Despite her being the driver, the officer still asks for Chris’ ID. That’s a more obvious statement by the film, but there are plenty of other moments shrouded behind smiling faces and looks, demeaning questions, and using undignified nicknames when talking with Chris.

The boogeyman in “Get Out” isn’t anything supernatural, but very real. As a white man who’s sat through plenty of horror movies, rarely do I ever get two distinct impressions. One, I am the boogeyman. Two, this is what the average black man deals with. The movie even begins with a nod to the Trayvon Martin incident as a black man walks through suburbia at night, thinking out loud about what George Zimmerman is lurking just around the corner.

As politically and socially carnivorous as “Get Out” is, it’s never victimizes black people or vilifies white people. The terror is real, projecting minority’s real world fears onto a plot revolving around body horror, brainwashing and 21st century slavery. It helps that Chris doesn’t find himself in the stereotypical backwoods, but in a picturesque homestead where everyone’s educated, nice and welcoming. But as I stated at the beginning, something’s not right. If “Get Out” is any indication, Peele is not only a refreshing voice for horror, but may have just steered the genre in a completely new direction that’s wildly exciting, scary and ferocious.

Directed By: Michael Dudok de Wit
Rated: PG
Running Time: 80 minutes
Sony Pictures Classic

Our Score: 4 out of 5 Stars

Since 2013, Studio Ghibli has been without Hayao Miyazaki. The creatively diverse, ever-promising studio has seemingly been stuck in a holding pattern. When a found is no longer present, it’s understandable for a production studio to shuffle its feet while trying to find some new footing. Ghibli’s first theatrical step since Miyazaki’s departure may have come in the form of a multi-national collaboration.

“The Red Turtle” isn’t really a story, more than it’s a visual journey. In many ways, it’s a fable without dialogue, taking viewers on a curious excursion. The movie begins with an unnamed man, clinging to life in a furious sea storm. He awakens, stranded on an island that has the most basic of essentials; a small cluster of ponds to drink fresh water from, various fruits to quell his hunger, and bamboo to craft a getaway raft. The only thing preventing his escape is an expressionless red turtle.

Someone with rudimentary observational skills would view “The Red Turtle” as simplistic storytelling without purpose. But the removal of dialogue requires the viewer to take in more than they normally would. You pay more attention to the thinly drawn facial expression changes, the grunts, the various orchestral selections and the nameless man’s dreams that spill into reality. I can tell you what “The Red Turtle” means to me, but this is multi-layered movie that relays a different message for those willing to watch.

I viewed the “The Red Turtle” as a thoughtful reflection about mankind’s need to reconnect with nature in a meaningful way, less we want to wind up alone on this floating blue ball called Earth. It’s not necessarily an environmental message that I took away, but one of humanity’s casual disrespect. We merely take what we need and seem frustrated when nature responds, not with violence, but with curiosity about why we don’t stop in breathe it all in. Once the nameless man works with nature, instead of against it, he begins to be happy and see the island as a miniature slice of heaven.

But like I said, others will take away a much different and distinct opinion from the subtext. This kind of opinion is true for most films, but “The Red Turtle” is crafted in such a way that if there is a true message to be consumed, it’s cleverly hidden beneath a lot of optical substance. Without giving too much away, there are deep themes about family dynamics, the destructive habits that nature and mankind reciprocally share, the mutual survivalism every creature on Earth is enduring, and that’s just a few.

While “The Red Turtle” is a metaphorical delight, it’s pace sometimes is slower than a casual stroll, seemingly padding it’s runtime so it could be considered a feature length film. This is a story that may have benefitted from a shorter runtime, but then again it may have lacked a lot of philosophical richness that viewers would be able to sink their teeth into. “The Red Turtle” is not only a stellar animation endeavor, but a soothing delight that reflects the human soul.

Starring: David Oyelowo, Rosamund Pike and Jack Davenport
Directed by: Amma Assante
Rated: PG-13
Running time: 1 hr 51 mins
Fox Searchlight

Our Score: 4 out of 5 Stars

London. 1947. Finishing up his college education is Seretse Khama (Oyelowo), who will soon return to his African country of Bechuanaland (now Botswana) and become King. But before he can board the boat home he meets Ruth (Pike) at a student mixer. The two fall in love but soon realize there may be a problem. You see Seretse is black. Ruth is white. And if “To Sir, With Love” taught me anything, it’s that this combination of people is not very popular in England. But any problems they face in Britain (Ruth’s father shuns her, idiots on the street call them names) are tame compared to when they travel to Africa.

Like last year’s film, “Loving,” which dealt with interracial marriage in the States, “A United Kingdom” rises above other films dealing with the same subject thanks to the performances of the film’s stars. Oyelowo and Pike are both excellent actors and the pair carry this film on their shoulders. Extra credit to Oyelowo who must be firm and tender, often at the same time. Ruth is shocked to learn that, even in a country ruled by a black man, that there are “white only” facilities, including the local hotel. Seretse explains that because he is King he has a special dispensation that allows him to use the front door.

Of course things do not go well in Africa, as Seretse’s uncle, currently in charge, does not agree with his choice of bride. Not so much because she is white, but because he has neglected to understand how important it is and would be for a local woman to ascend to Queen through marriage. Things are further complicated by the fact that Bechuanaland borders South Africa, where the ugly head of apartheid is beginning to rear itself, upsetting the good British government which relies on South Africa for things like gold.

As the film progresses it does begin to drag a little bit, but the cast, both main and supporting, manage to create a strong story flow as far as pacing. And I have to say, there is nothing like watching a film about Africa that eventually gives us a shot of the countryside from an air plane and you see one, single giraffe romping across the plains by itself. Like the giraffe, Oyelowo is both regal and strong and, as this is Oscar weekend, his is a performance likely to be recognized next year.

Starring: Gemma Arterton, Glenn Close and Sennia Nanua
Directed By: Colm McCarthy
Rated: R
Running Time: 111 minutes
Saban Films

Our Score: 4 out of 5 Stars

If it bites like a zombie, moves like a zombie, and growls like a zombie, it’s probably a zombie. That’s not the case though in “The Girl with All the Gifts.” Their zombies haven’t necessarily died and become reanimated monsters that crave human flesh and/or brains. Instead, a fungal infection is the culprit behind the mindless, violent masses stalking this post-apocalyptic world. The spores sprout and creep into the brain, like a vine weaving its way into a home’s foundation, causing a human to lose their mental prowess and become monotonous cannibals.

While the sight of a human would usually send a stereotypical film zombie into a tizzy, the zombies in “The Girl with All the Gifts” only react to scent and sound. Also in this dystopian future, where the last remaining humans have stowed away in heavily guarded forts, there’s a third, hybrid group that co-exists. It’s made up of second-generation children, born from a human turned zombie. They’re almost like a bridge between the two, exhibiting human emotions and intellect, but excited to sink their teeth into flesh and organs at a moment’s notice.

The elementary and middle-school aged children keep their inhibitions in check, but just the mere whiff of someone’s stench sends them chomping at flesh, snarling at people and attempting to escape their restraints. The most intelligent and articulate of the group is Melanie (Nanua). She’s also the best at keeping her animalistic urges in check while her entire class acts like starved sharks when a drop of blood hits the water.

Most everyone at the military base, whether its army men with assault rifles, apprehensive school teachers or scientists, is petrified of the children; except two people. Miss Helen (Arterton) sees humanity’s salvation in them. While Miss Helen may pine for the days before the apocalypse, she thinks that these kids are more than just a potential cure, but have true value in shaping the future of the world. Dr. Caldwell (Close) on the other hand picks the brains of the children, literally and intellectually.

“The Girl with All the Gifts” is based on a book of the same, where the writer most likely stole a few pages out of “The Walking Dead” playbook, incorporating emotion, character study, and morality into the zombie genre. Video gamers will get more of a Deja vu feeling as the fungal infection and foliage rich cities feel reminiscent of the PlayStation 3 game, “The Last of Us.” Despite some of the clear and possible influences, “The Girl with All the Gifts” avoids a lot of cliché pitfalls and is a solid addition to the zombie genre that’s been struggling to find anything fresh lately

Even with the star power of Glenn Close, the movie is led by the heartfelt, yet terrifying, performance of a 12-year-old actress. Sennia Nanua counterbalances the dire outlook in “The Girl With all the Gifts” with a curious coming-of-age story. If Melanie didn’t have dried blood on her lips and face half the time, she could be the Katniss of the zombie world. Melanie faces a lot of stark realizations about the real world as the movie progresses. Her adolescent transformation is quick, nuanced and captivating.

Melanie’s fresh grasp of the world, past, present and future, is integral, but it’s her relationships with Miss Helen and Dr. Caldwell that set-up a profound third act. It takes a while to get to the crux of it because the story meanders, but during that downtime, there are some solid moments. It’s there we find out about how the human mind and spirit can overcome carnal urges. It helps the audience better understand the painfully tragic choices we have to make when reality stares us down in the face.

The outcome will most likely be viewed as grim, but it’s important to keep in mind the lessons that Melanie picks up along the way. It’s interesting to watch a genre, generally rich with fear and cynicism, find a more impactful message about humanity’s selfish existence and fear of nature. “The Girl with All the Gifts” adds some intelligence to the brain dead genre by being more sensitive and curious about the human story developing on screen than it is with making the audience jump in their seats.

Starring: Hugh Jackman, Dafne Keen and Patrick Stewart
Directed by: James Mangold
Rated: R
Running time: 2 hrs 15 mins
20th Century Fox

Our Score: 4 out of 5 Stars

Thank you Deadpool. It was just a year ago when your film came out and you proved to Hollywood that a well-made “R” rated comic book movie CAN make money. Not sure if you planned on doing $135 million opening weekend but God bless you. After years of PG-13 films where there seemed to be no visual consequences from the damages done, filmmakers can now decide on whether to be as graphic as some of the source material they are using. The year’s first entry features everybody’s favorite X-man, the Wolverine, in “Logan.”

The year is 2029. When we first meet up with Logan (Jackman) he is a limo driver whose ride is about to be jacked by a gang of ruffians. Gray-haired and looking haggard, he implores the thieves to try their luck somewhere else, only to be answered with a shotgun blast to the chest. As the Waco kid said to Sheriff Bart in “Blazing Saddles” when talking about Mongo, “don’t shoot him…you’ll only make him mad!” And mad he becomes, springing his adamantium claws and making mincemeat of his attackers. Literally minced meat. Arms are severed, eyes gouged out, blood spurts. And this is only five minutes into the film! This isn’t your father’s Wolverine.

Packed with wall to wall action, “Logan” is a fitting ending to Hugh Jackman’s association with Wolverine. Counting cameos in other films, this is Jackman’s 10th appearance in the role that made him a star and he uses that history to his advantage. He not only knows the character he IS the character. And here he has a little help. Mutants are literally non-existent in the future and he earns his money driving a limo so that he can take care of Professor Xavier (Stewart) who he is hiding in an old junk yard and assisted by Caliban (Stephen Merchant) an Albino whose aversion to the sun is more real than Count Dracula. Logan finds himself constantly being bothered by a young woman asking for his help. He finally comes into contact with Laura (Keen), a precocious pre-teen who also has the ability to spring claws. Unfortunately, unlike Logan, Laura really has no filter on her powers so she might kill you for a can of Pringles. Laura was part of a medical experiment where a Dr. Rice (Richard E. Grant) supervised the creation of children but with the mutant powers he wished them to have. Ironically, the kids have been raised on X-men comics, so they think there is a place for them out in the world.

In a wise choice, this film is directed by James Mangold, who has given us some great personal drams like “Copland” and “Walk the Line” and his presence behind the camera (and with script duties) helps keep the film grounded. In between the violent encounters, and fans with younger children I do urge you to use caution before you bring them to this, is an emotional payoff that will stick with you. But it Jackman’s film and Jackman’s character that you will leave the theatre remembering.

Starring: Evanna Lynch, Michael Smiley and George Webster
Directed by: Simon Fitzmaurice
Rated: Not Rated
Running time: 1 hr 40 mins
Monument Releasing

Our Score: 4 out of 5 Stars

“They name hurricanes after me.”

So we are told as we are introduced to Emily, who narrates the film bearing her name. We learn that her father spent a year after her birth reading multitudes of books, trying to understand the meaning of having a daughter. Finally he decided that the greatest teacher about his daughter IS his daughter and they form an unbreakable bond. When Emily (Lynch, who you may recognize from the Harry Potter films – she played Luna Lovegood) comes home upset from school – the kids call her “weirdo” for reading books – her father (Smiley) shows her in the dictionary that the term is not a bad one. Dad finds success as an author but, when he and his wife are involved in an automobile accident, killing her, he begins to withdraw into himself, finally being committed to a mental institution. This puts Emily into a foster home, where she is the new kid at school once again. But soon, like the hurricane, she is once again and on the move.

A sweetly written story about love and the bonds it forms, “My Name is Emily” succeeds in part thanks to a fine cast of young actors. While at school Emily catches the eye of classmate Arden (Webster) and, while their interaction is at first minimal, it’s easy to see that Arden is smitten. After a bad day at school, where Emily announces that it’s her birthday, Arden brings her a gift and tries to be a comforting shoulder. But Emily is too strong. Or so it seems. Soon she has convinced Arden to accompany her to the north of England to search for her father. Both Lynch, with her wide, blue eyes and Webster give strong performances in what could have easily been stereotypical teenage roles. Credit this to director Fitzmaurice, who also wrote the film, whose pacing keeps the film moving smoothly.

Technically the film is strongly helped by the beautiful Irish countryside that surrounds the two on their long road trip. The musical score by Stephen McKeon helps move the story along as well. “My Name is Emily” is playing in select theatres and is also available through Video on Demand.

Starring: Matt Damon, Tian Jing and Willem Dafoe
Directed By: Yimou Zhang
Rated: PG-13
Running Time: 103 minutes
Universal Pictures

Our Score: 2 out of 5 Stars

12th century China looks weird. And it’s not just because of Matt Damon’s scraggly face sticking out like a sore thumb. There’s been a lot of vocal concerns by the mainstream media that “The Great Wall” is whitewashing history, but don’t worry. The movie isn’t historical in any way shape or form. But it does manage to explain why Damon’s character is there. He’s a European merchant in search of gunpowder. He talks about how gunpowder is a rumor, fantasized about by Western powers. If someone were to find it, take it, and bring it back, they would receive untold fortunes.

That’s logical. In fact it’s the only logical thing in this illogical movie. Sure Damon has a bland accent that disappears half the time and it’s not quite clear what nationality his character is, but it’s not the explosive controversy that’s being portrayed on “Good Morning America” right now. This movie is about as historically accurate as Mel Brook’s “History of the World, Part I.” It solidifies that fact when we’re introduced to the CGI asteroid demon creatures that have been spent centuries attempting to invade China.

That’s not a glaring typo or a misplaced sentence fragment from another review. There are green monsters that come from a lemon lime radiating space rock populating the screen. These creatures are of a hive mind, following orders from an ominous queen. These green monsters apparently want to invade ancient China because…well…the movie never answers that. It’s frustrating because the writers couldn’t even bother to steal a page from the “Starship Troopers” playbook.

The queen alien, who’s very unimpressive compared to her underlings, isn’t just some animalistic creature without a shred of intellect. There’s a drive behind her as she meticulously plans out traps, devises battle plans, and evolves her army’s military tactics over decades. “The Great Wall” explain too much without ever explaining any of the basic groundwork. This should be stupid fun time at the movies, but it’s interjections of seemingly random alien rationale and ramshackle attempts at historical precedent are befuddling.

“The Great Wall” can never make up its mind on if it wants to be a serious attempt at a summer blockbuster or fantasy alternative history. It can’t be both and fails at being either one. I didn’t expect much walking in. I truly didn’t. I expected a 2017-style “Gods of Egypt” tax write off for Universal, but that’s not what I got. Even while my brain was on cruise control I managed to pick up on the poor plot pacing and subpar storytelling. That’s not a good thing.

The saving grace in “The Great Wall” is its half-hearted attempt at likable characters. It helps that Damon most likely knew they were filming hot garbage and played into its schlock. But I lacked beer and friends to appreciate the pricey travesty I was witnessing on screen. There’s no doubt that it’s visually intense and the set designs are meticulously detailed and gorgeous, but this is a rough movie to like or even recommend.

Starring: Ice Cube, Charlie Day and Tracy Morgan
Directed by: Richie Keen
Rated: R
Running time: 1 hr 31 mins
New Line Cinema

Our Score: 2.5 out of 5 Stars

Ah, the last day of the school year. A time to clean out your locker, turn in your books and get ready for the summer. Unless you’re a student at the high school featured in the new film “Fist Fight.” Then it’s a time to rebel.

Andy (Day) is an English teacher whose last day of school starts with a student parked in his parking spot. Andy is an expectant father and is worried that school budget cuts may affect his job. Andy is pretty easy going and it’s easy to root for him. Then there is Strickland (Cube – wait, is that right? Is “Ice Cube” all inclusive? Is “Ice” his first name and “Cube” his last?” How about if I call him O’Shea Jackson?). Strickland is a no-nonsense teacher who’s not afraid to challenge his students. Physically. When a classroom altercation gets reported to the principal, Andy inadvertently gets Strickland fired. Angered, the man challenges Andy to a fight after school. Place your bets.

I don’t know what it is about Hollywood and films set in high school. From “3 O’clock High” to “Big Bully,” it seems like kids (and teachers) can’t get along. And who would want to in this school. It’s one thing to pull a few pranks but what the students are doing here would normally result in criminal records. Especially in a world were bullying is prevalent. Have the principal followed around all day by a Mariachi band? Funny. Destroy his car? Jail.

The story is the result of a script by two first-time feature writers and it shows. Jokes, or what are supposed to be jokes, flow quickly and some hit their mark. But many more miss it. When Charlie Day can’t make you laugh you have a serious problem with your material. Day tries hard, as does Mr. Cube (how’s that?) but they needed better dialogue. The fact that Cube is named Strickland makes me wonder if he’s named after the bald teacher that terrorized Marty McFly in “Back to the Future.” Though I wonder if the writers were that clever.

On the plus side, Charlie Day does well in a comedy he’s there to carry and it’s nice to see Tracy Morgan back on the big screen.

Starring: James Franco, Vincent D’Onofrio and Robert Duvall
Directed by: James Franco
Rated: R
Running time: 1 hr 50 mins
Momentum Pictures

Our Score: 5 out of 5 Stars

Among the many great novels by John Steinbeck are a couple detailing with life during the depression. Most people are aware of “The Grapes of Wrath,” which won a Pulitzer Prize and was made into a film starring Henry Fonda. The lesser known novel, written in between “Tortilla Flat” and “Of Mice and Men” (Jesus, this guy had some talent) was titled “In Dubious Battle.”

The year is 1934. We find ourselves in the Bolton Apple Orchards of California. Many people have picked up back east and headed west with the promise of available work and great wages. However, the influx of laborers has driven wages down, much to the chagrin of the apple pickers. A burly man named London (D’Onofrio) confronts old man Bolton (Duvall). Having been promised three dollars a day for their work, the workers have only received one dollar a day and are, justifiably, unhappy. They want to fight for what they have owed them. They only need a little nudge.

Some of you reading this may be saying to yourself, “I didn’t know James Franco directed.” I am a fan of his film “SAL,” but I was shocked to learn that, if the Internet Movie Data Base is to be believed, he has no less than SEVEN films coming out this year that he directed. He really is a renaissance man! Franco also stars here as Mac, an organizer for a group that is trying to unionize the apple pickers. He had taken under his wing a young man named Jim (Nat Wolff). His eyes not truly open, Jim is drawn to the movement by the fiery rhetoric of Mac. Together they apply for work at Bolton’s orchards and try to blend in. They begin to make small talk with the other workers, trying to feel out who can be a leader and discover London. They discover that most of the workers have had their spirits crushed. When Jim makes an optimistic comment he is met with a frown. “That sounds like hope,” he’s told. But hope may be all these people need.

Perfectly paced and skillfully cast, “In Dubious Battle” is one of those small films that occasionally see the light of day. With a perfect period background and an accompanying musical score by Volker Bertelmann, whose score for this year’s “Lion” has been nominated for an Academy Award, the film takes you back in time to a period when life seemed easier but surely wasn’t. And Franco seems to be the new Woody Allen in that everyone wants to work with him. He has filled his cast with some of the best (and in my case, favorite) character actors, including Ed Harris, Bryan Cranston and John Savage. As London, D’Onofrio adds another great character to his resume. Wolff begins the film clad in innocence, growing more defiant as the story progresses. Franco’s Mac is almost a step-brother to “The Grapes of Wrath”s Tom Joad, pushing forward and giving the occasional inspirational speech.

I’ll admit here that I am a member of a labor union. My current home-state, Missouri, recently voted to be a “Right to Work” state. I found this film inspirational, both in content and in the commemoration of those that came before us.

Starring the voices of: Will Arnett, Rosario Dawson and Michael Cera
Directed by: Chris McKay
Rated: PG-13
Running time: 1 hr 44 mins
Warner Bros

Our Score: 3.5 out of 5 Stars

Was anyone surprised when “The LEGO Movie” premiered in 2014 that Batman was one of the best loved characters? Apparently Warner Bros. wasn’t because they have put their blocks together to feature the Dark Knight in his own LEGO adventure.

After a hilarious opening that features white lights, dramatic narration and the claim that it was Batman, and not Michael Jackson, who wrote “Man in the Mirror,” we learn that the Joker (Zach Galifianakis) is again scheming to take over Gotham City. Batman (Arnett) is not impressed but soon finds he is dealing with much more than the Clown Prince of Crime. Besides the regular rogue’s gallery of villains, including the Riddler, the Penguin, Poison Ivy and Bane we are also introduced to lesser ones like Scarecrow, Clayface, Mr. Freeze, Polka Dot Man, Kite Man and King Tut. The Joker has even lined up some baddies from other popular culture vehicles, including King Kong, Sauron, Voldemort, Gremlins and pretty much every other character Warner Bros. owns the right to. I was genuinely surprised when the Phantom of the Opera didn’t show up. Heck, he even recruits a group of “British robots,” because apparently they couldn’t use the word Daleks. For those uninformed, Batman requests you “ask your nerd friends.” What’s a Batman to do?

Very funny but a little bit all over the place, “The LEGO Batman Movie” is fun for all ages. Kids are going to love the on-screen imagery while mom and pop are going to laugh out loud out with each wisecrack. An example: when Batgirl asks Batman why the Batmobile only has one seat, he replies “because last I checked I only had one butt!” Batman is also joined by an all-star assemblage of DC heroes like the Flash and the Green Lantern. Even the under-appreciated Superman shows up. Individually these are funny characters but, allowed to gather en masse, they fight for screen time and for punch lines.

That being said, it’s still worth your time to join the Caped Crusader and friends in this bright and colorful adventure.