Starring:  Melissa McCarthy, Jason Statham and Jude Law
Directed by:  Paul Feig
Rated:  R
Running time:  2 hrs
20th Century Fox

Our Score: 4.5 out of 5 stars

As much as I love Melissa McCarthy, I learned with last summer’s “Tammy” that she is so much funnier when surrounded by a great comedic cast.  Nothing against Susan Sarandon but I think the last time I consistently laughed at a film she was in was 1977’s “The Great Smokey Roadblock!”  That being said, with the cast appearing on-screen with Ms. McCarthy in “Spy,” she has herself another classic.

When the film begins we are introduced to the suave Bradley Fine (Law), the kind of secret agent that pauses to make sure his hair looks good after he gets physical with the bad guys. But, as everyone knows, you’re only as good as the people around you, and Fine is working with one of the best – Susan Cooper (McCarthy).  Coop’s job is to watch Fine’s back electronically and talk him through his mission, alerting him to on-coming baddies and the closest secret exit.  While working on a case together something goes horribly wrong and Fine is killed.  Susan is devastated.  However, when her agency needs someone to go out into the field – someone unknown to the enemy – Susan is given the chance.  World diplomacy may never be again.

A true comedy adventure, “Spy” is Melissa McCarthy at her best.  There are very few comedians, man or woman, that have her physical and comedic skills.  As she frequently changes disguises (and names), she becomes that character completely.  Again, she is aided by a great ensemble cast, including Law, Rose Byrne (her “Bridesmaids” co-star), Allison Janney, Bobby Cannavale and British funny lady Miranda Hart.  But the comic secret-weapon here is action star Statham, who plays an over the top version of his normal screen hero.

The script, by director Feig, is full of classic situations, both comedic and dramatic.  Some of the set pieces, including car chases and gun battles, are well staged.  The fact that he is directing and co-writing the upcoming “Ghostbusters” re-boot tells me that film is in more than capable hands. 

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Starring: Kevin Connolly, Adrian Grenier, Kevin Dillon, Jerry Ferrara and Jeremy Pivens
Directed By: Doug Ellin
Rated: R
Running Time: 104 minutes
Warner Bros. Pictures

Our Score: 2.5 out of 5 stars

Back in 2007, on the advice of a college friend, I was told to give HBO’s “Entourage” a try. After four episodes, I called it quits. Not because it was an atrocity, but because it wasn’t my thing. I could see why it was recommended and why it would inevitably gain popularity and go on for another seven seasons. It was short, fun, and one’s opinion mainly hinged on the likeability of the core group.

There’s Vincent Chase (Grenier), the movie star in this world, Vincent’s best friend and manager, E (Connolly), Vincent’s brother, Johnny Drama (Dillon), and Turtle (Ferrara), who serves no real purpose at all. This is the core group of guys, constantly being weaved in and out of each other’s social lives along with their laughable adult lives in sunny Los Angeles.

The movie “Entourage” brings them back from the dead in a movie that’s three to four times longer than any episode they ever conceived. Back to wrangle these idiots is Ari Gold (Pivens), easily the best character amongst this core. Gold is once again quick-witted, funny, crudely charming, and multi-layered, unlike the aforementioned characters. Just like the TV show, Gold is the best thing about all of this. If he’s not on screen, it doesn’t feel like it’s worth my time.

Vincent’s story revolves around his directorial debut, and we’re supposed to believe that this sometimes oblivious person has crafted a masterpiece, but he needs some more money to put the finishing touches on it. Gold is back, not as Vincent’s agent, but as the head of the studio financing Vincent’s vision. As for the rest of the gang, they’re back, but it’d probably be better if they weren’t.

“Entourage” must have fallen off the deep end since those first four episodes that I watched. What seemed like a clever jab at Hollywood has now become obsessed with everyone partying, drinking and having sex. That was in the episodes I saw, but not to this excess or to this tasteless amount featured in the movie. It’s especially awkward for Johnny Drama who’s nearing the age that crosses the border from confident to creepy.

Vincent, who’s supposed to me the most freaked out about a movie that may be scrapped, seemingly reacts in a lukewarm manner to everything wrong happening to him. They’re over budget, everyone doubts his skills, financiers are getting ready to back out, and all he does is stare blankly into the camera. Gold is reacting as any sane person would, as he yells, punches inanimate objects, and creates new swear words. “Entourage” should be about Gold, not Vincent. Vincent is supposed to be a fresh, exciting, new actor, but half the time it seems like he’s waiting for someone to feed him a line or the director to give him his motivation.

It’s also a bad sign when the cameos in your movie are more memorable than what happens to your main characters. But it’s also a good sign when those cameos include Liam Neeson, Bob Saget, Tom Brady, and a slew of other people willing to give a cheap laugh at the expense of themselves or others. When Gold is on screen, “Entourage” is clever and fun, but when Vincent is on screen, it’s painful and dry. Maybe they should break up this entourage and just make a movie called Ari Gold. Now I’d pay to see that.

“Entourage” is a difficult movie to love, but an easy movie to hate. At its core, it’s fan-service, plain and simple. If you didn’t watch the show, you’re not going to see what all the fuss is about, but if you own every season on DVD or blu-ray, you’re inevitably going to add this movie to your collection.

Starring: Dwayne “The Rock” Johnson, Carla Gugino and Alexandra Daddario
Directed By: Brad Peyton
Rated: PG-13
Running Time: 114 minutes
Warner Bros. Pictures

Our Score: 2 out of 5 stars

I don’t expect too much from my disaster movies. Like most people, I grew up on them, and at this age, I know what I enjoy. For me, you have to have some engaging and likeable characters, plenty of wanton destruction, and maybe just a hint of self-aware cheesiness. Of course you can play around with these mechanics and it’s possible to create something genuinely fun and unforgettable, but “San Andreas” doesn’t do that. “San Andreas” doesn’t offer any Earth shattering originality or groundbreaking fun.

“San Andreas” does manage to entertain when it really, really wants to, but it fades into forgotten passages of the disaster movie history books. The Mother Nature run amok in “San Andreas” is fairly self-explanatory from the title; it’s an earthquake. A scientist played by Paul Giamatti is luckily around for the ride so he can supply information and give the audience simplistic explanations to summarize tectonic plate movements and what-not. “San Andreas” introduces the notion that just before a series of earthquakes strikes along the San Andreas Fault, he’s learned how to predict earthquakes. But it’s not necessarily the most helpful thing when he learns this technique minutes before the big “ones” strike.

“San Andreas” emphasizes multiple times the earthquakes we witness, on screen, are record breakers. “San Andreas” visually emphasizes this well with as the land rolls up and down like a wave pool and skyscrapers cascade into other skyscrapers. When not setting the scene, close-ups show slabs of concrete piling up, sometimes crushing unnamed innocent bystanders as they let out one final cry. And if you see this in 3D, there’s absurd amounts of rubble that litter the screen and fly at you. While this is all terribly exciting, but sometimes gruesome, there’s this pesky thing called plot that gets in the way.

Amongst the trembling masses fleeing every tall structure, is Chief Ray Gaines (The Rock). He’s the physical embodiment of a Swiss army knife. There’s no hesitation with his abilities and it seems like he’s ready to do it all at the flip of a switch. He could probably teach multiple courses on how to operate all land, sea, and air. Half way through I began to expect that he was eventually going to punch the physical manifestation of the earthquake in the face, but alas this movie isn’t that ridiculous, and that slightly disappoints me.

During his journey to demonstrate his MacGyver-esque knowledge, he has to save his ex-wife, Emma (Gugino) and track down his daughter, Blake (Daddario), who’s caught up in the chaos. There’s some nice moments where we learn about why Ray and Emma are no longer married, their inevitable reconnection, and a few other cute side stories, but it’s hard to get too emotionally attached after being subjected to awkward scenes featuring the horrified last looks of people whose lives are extinguished.

At times you’re disappointed they aren’t going balls out with the deaths and in other instances you’re thumbing your nose at the poor choice of people who die. The Avengers spent plenty of time in “Age of Ultron” making sure innocent civilians could live, but it seems like “San Andreas” made up for that by killing 100 times that amount. There’s such a fine line between enjoying disaster sadism and simply being repulsed, but “San Andreas” finds a way to do both multiple times. By the movie’s end, the tally falls in favor of distaste.

Starring: George Clooney, Raffey Cassidy and Hugh Laurie
Directed by: Brad Bird
Rated: PG
Running time: 2 hrs 10 mins
Walt Disney Pictures

Our Score: 2.5 out of 5 stars

I have very fond memories of Tomorrowland. I’m referring to the section of Disney World where everyday people like you and I can wander and be amazed. A few years ago I stumbled into a theatre there and, somehow, my likeness was projected as “Sully” when they told the story of “Monster’s Inc.” Afterwards, as we left the theatre, more than one child pointed at me and said “bye, Sully.” That was Tomorrowland then. But what about “Tomorrowland” now?

We find ourselves at the 1964 World’s Fair. Here, while many new marvels are being unveiled (among them, the Ford Mustang, color television and, since this IS a Disney film, the “It’s A Small World” ride) we meet young Frank Walker (Thomas Robinson). Frank has shown up to enter his invention in a contest in the hopes of winning $50.00. He is met by Nix (Laurie), who questions his invention and its usefulness. Frank also meets Athena (Cassidy), a young girl who is smitten with the young man. Ah, young love.

Fast forward 50 years and meet Casey Newton (Britt Robertson). Her scientist father (Tim McGraw) is in the final weeks of his job with NASA. Hoping to keep dad working a little longer, Casey tries to disrupt the work that is leading to dad’s dismissal. Arrested she is sent to the local pokey. When she makes bail she gathers her belongings and finds, among them, a mysterious pin. When she touches it she flashes to another place. Another time. Tomorrowland (bum, bum, bum)!

Beautifully filmed and full of amazing effects, “Tomorrowland” is a film with a message. What’s bad about it is that it takes more than half the film to actually get TO that message. Basically, the film is the story of two people with different ideas about the future. One (Frank) is sure it’s doomed while the other (Casey) has that optimistic outlook that one normally finds in kids who still believe in Santa and the Tooth Fairy. Not only is Frank down on the future, his heart is broken because young Miss Athena did not return his feelings. Or should I say she couldn’t. Let’s just say that a lot of things were being built in 1964.

One of the drawbacks to the film is the length. Director Bird seems so intent on dazzling the audience that he seems to have lost his watch. A side-trip to a fandom-themed store is fun (stock full of “Iron Giant” toys and many reminders that Disney will be releasing the next “Star Wars” film this Christmas) but, like other set pieces, goes on forever. If not for the work of the actors, who seem to be buying the premise, the film could have been one big commercial. Clooney is subdued while Robertson is hyper. The best performance in the film belongs to Miss Cassidy, who brings true emotion to a character that shouldn’t have any. The PG rating my bring the kids but I think both they, and their parents, may keep checking their watches in-between the on-screen fun.

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Starring: Tony D. Czech, Douglas Sidney, and KariAnn Christense
Directed By: Elliot Diviney
Rated: R
Running Time: 94 minutes
Music Video Distributors

Our Score: 2 out of 5 stars

Imagine a Troma movie without any of the fun gratuitous nudity and violence. That’s “American Rescue Squad” in a nutshell. The creators behind this low budget flick have the know-how to realize what kind of movie they’re making. I just hate to think that a movie missing two components, as simple as naked people and gore, is what brings down this movie, but it does.

“American Rescue Squad” is a politically incorrect “Avengers”. Two superheroes, by the names of Personal Responsibility and Common Sense, have been away from the scene, but come out of retirement after a group of villains kidnap the Taxpayer. These villains are made up of the Freeloader, the Bible Thumper, and they’re all led by Congressman Dick Pansy. And just like any knowledgeable comedy movie that touches upon politics, it’s an equal opportunity offender.

There’s nothing too outlandishly offensive that should cause you to turn off the movie. There are jokes for both blue and red states, but luckily it never really grandstands and preaches a solid message. You can take what you want, but in an unbiased comedy like this, you would be wasting your time trying to read between the lines because there is nothing. None of the jokes are particularly clever, but silly for the sake of being silly. If you don’t have a rod up your butt, you should be able to chuckle every once and a while.

While it’s not about to join the ranks of “Airplane!” or “The Toxic Avenger”, it’s decent for what it is. It reminds me a bit of “Poultrygeist: Night of the Chicken Dead” because of how it adds nonsensical musical numbers for our stereotypes to sing. And as you could surmise, the songs are equally crude and vulgar. “American Rescue Squad” has a charm that only comes from shoestring budget movies with passable acting.

But I just can’t quite enjoy it because as I stated earlier, no blood or naked people. I know when it comes to excessive nudity and violence, I’m generally condemning other movies for doing that, but when it comes to Troma, that’s what makes them so enjoyable. It’s supposed to be silly and over-the-top, but “American Rescue Squad” doesn’t have that and when you don’t have squirting red syrup and bare breasted women or male genitalia to keep your dirty mind occupied, you start to really think about the flaws of a movie that’s created in the same vein. I don’t know if what’s more terrifying. That that’s how my own moral compass is guided in some pop culture or that that’s my big slam against a movie that could have been better.

Starring: Anna Kendrick, Rebel Wilson and Skylar Astin
Directed by: Elizabeth Banks
Rated: PG 13
Running time: 1 hour 55 mins
Universal

Our Score: 3.5 out of 5 stars

Get ready folks, the Bellas are back! And they’re just as ACA-funny as they were the first time.

It’s been three years since the Barden College Bellas captured their first collegiate a Capella championship. Now a three-time champion, the group, now led by the spirited Becca (Kendricks) has been asked to perform for the President. However, during a very elaborate aerial stunt involving “Fat” Amy (Wilson), something goes horribly wrong and soon the term “Muff-gate” has become part of the common lexicon. The resulting punishment strips the group of their title but allows them the chance to continue to compete in the World Championships versus groups from all over the world, including Germany’s current champions Das Sound Machine. With a few new voices in the group, will everything go as planned?

Fans of the first film will be pleased to learn that most of the original Bellas are back, with a few new voices to lead them. Among them is Emily (“True Grit’s” Hailie Steinfeld) a legacy whose mother (Katy Segal) is a Bella-legend and hopes to follow in her footsteps. Many of the returning characters are equally fun to watch, especially John Michael Higgins an director Banks as the smarmy hosts/commentators of the various competitions. Special attention to David Cross, as an eccentric a Capella fan who hosts “sing-offs” in his home featruing, among others, various members of the Green Bay Packers. The other main story follows Becca asshe continues to try to make it as a music producer. She gets her chance when she works with Snoop Dogg on his upcoming Christmas album. I must say here that when he’s crooning holiday classics, Snoop sounds a lot like the late, great Nat King Cole.

The script is fun, with many of the best lines going to Wilson’s “Fat” Amy, who considers David Hasselhoff the last great German singer and has been intimate with “three of the Wiggles.” The songs performed are familiar “sing-a-long” numbers and director Banks has a fine eye for capturing the excitement and exhileration of competition. If you enjoyed the first film, you won’t be disappointed with “Pitch Perfect 2.”

Starring: Tom Hardy, Charlize Theron and Nicholas Hoult
Directed By: George Miller
Rated: R
Running Time: 120 minutes
Warner Bros. Pictures

Our Score: 4.5 out of 5 stars

From smashing real life cars in the early 80’s to CGI spectacles of today, it’s been quite the road for vehicular mayhem on the big screen. One of those movies to pioneer heart racing chases and motorized feats that could decapitate a stuntman was “The Road Warrior”. In 2015, George Miller has come full circle with his “Mad Max” franchise. He’s stepped on the pedal and revved up some life into this old franchise. While the original “Mad Max” movies were the quintessential action movies of the 80’s, “Mad Max: Fury Road” is undoubtedly the quintessential action movie of the 21st century.

This isn’t your typical summer blockbuster that requires knowledge of the backstory to understand the current predicament of the characters. “Mad Max: Fury Road,” much like the other movies, follows our hero, Mad Max. Max opens the movie with a narrative that packs more words than he’ll say for the rest of the movie. And trust me, that opening narrative still isn’t that long. His gritty and heavily accented voice grumbles out, “I exist in this wasteland, hunted by scavengers.” And that’s all you need to know about this world.

Fans of the previous movies will know that we’re plopped down in the fierce unforgiving deserts of Australia, but a sandy wasteland speaks for itself in a post-apocalyptic world. The movie establishes very briefly that there’s been a shortage of oil, a resource richer than water, which has thrown the world into chaos. Wars have torn us apart and devolved us into a primal state of mind. We no longer remember have a sense of normalcy and some have been born into this rustic nightmare.

Max is imprisoned in a mountainous fortress known as the Citadel. The Citadel is under the tyrannical control of Immortan Joe (Hugh Keays-Byrne). He dilutes the populace with promises of guiding them through these end times and delivering them to Valhalla, sometimes personally. His operation includes a variety of different slaves, including men who churn a monstrous machine that pumps water from the ground, an army of pasty lunatics, simply called the “War Boys”, a row of women who are constantly being pumped for their breast milk, and five wives who he impregnates. He sees everything around him as his property and especially covets the angelic women like Gollum lusts after the One Ring.

But under the sanity of Imperator Furiosa (Theron), the five wives have hope. They escape with the battle hardened woman who burns with a deep hatred for Immortan Joe. Furiosa is in a position of power though, as the driver for the rig that transports precious gasoline, from a lone oil refinery, to the Citadel. With this super fitted and armed to the teeth war rig, she takes off with Immortan Joe’s “property”, sending him into a blind rage. He gathers the war party and storms into the desert with altered vehicles that seem born out of a NASCAR race from Hell.

“Fury Road” is a hot, violent, fever dream in the dunes of despair. There’s so much insanity to cover, I wouldn’t even know where to even begin. The chase after Furiosa drags Max into the fray as he’s used like a sick front hitch ornament for a pursuing vehicle, with his blood literally being siphoned from him into the deranged driver. Then throughout the movie, our enemies, when facing certain death, kamikaze after inhaling what appears to be spray paint, like deranged suicidal junkies. Main villain after villain appears with some sort of disgusting physical complication. While Immortan Joe needs a breathing apparatus, one villain has the teeth of a meth addict and the blind fury of an insane asylum patient, while another appears to be a discount Bond villain with a golden nose, a chain hanging between his pierced nipples, and a severe case of diabetes. And I haven’t even talked about the faceless creature that’s shown constantly playing an electric guitar that shoots flames.

Then there’s the thing you will be hearing about all summer, the stunts and the action. Yes it is relentless and fierce, and yes it avoids CGI, most of the time. Once you hear the sounds of gears shifting and nitrous being kicked on, you’re hooked from scene one. There’s such an adrenaline rush from watching real metal being chewed up and spit out, you can’t take your eyes off the screen. It also helps that every weapon and vehicle is unique in its brutality, while the chase itself seems like structured pandemonium. After watching the green screen CGI, sequel after sequel, and superhero epics, it’s refreshing to watch a realistic circus of carnage.

For being such a grotesque visual spectacle, it manages to be a very thoughtful movie, speaking volumes visually, without uttering a single word. Even though his name is in the title, the movie focuses heavily on Furiosa, who provides the bulk of emotion. While Hardy’s notes must have been very bare, Theron must have had a lot to handle. The movie begins with her as a cold, calculating, man-eater, but as the movie goes on she becomes a ray of hope in an otherwise bleak landscape. But “Mad Max” movies, forego the first, aren’t really about Max. It’s about the world he inhabits along with the people he helps, despite his usual reluctance in the beginning. “Fury Road” is no different. Max joins Furiosa and the five brides on this journey, fraught with despair, but ultimately driving towards hope. It took nearly three decades for all of this to come together, and after an over 10,000 day wait, it was worth every millisecond of my time.

Starring: Jacob Motsinger, Christopher Alice and Kristi Engleman
Directed by: Christopher Showerman
Not Rated
Running time: 1 hour 41 mins
ShorrisFilm

Our Score: 4 out of 5 stars

The time is the 1970s. Instead of heading right to school, we find young David and Eric hanging out near the broadcast antenna of the local radio station. With their transistor tuned in, David tries to follow along, picking out the notes on his weathered guitar. Some days the duo becomes a trio, joined by their fellow truant Jane. As they dream of the future they dream of it one filled with music.

20 years later, David (Alice) and Eric (Motsinger) and still playing music, this time serenading the cows on the dairy farm they work on. They’ve become an accomplished couple of musicians, writing their own songs and continuing to dream. Eric dreams of making the big time, while all David wants is to have his music heard. His motto: “when they start paying you for it stops being fun.” Eric would like to play a gig for someone other than the cows but David refuses to be in a cover band. Jane (Engleman) talks them into entering an original song in a local “Battle of the Bands,” which first off requires them to actually form a band. With a drummer added to the mix, and the cool band name “Rockness Monster,” they play the gig. They don’t win but they catch the ear of a record exec who tells them he can make their dreams come true. But he doesn’t tell them at one cost.

Written by first time director Showerman, “Radio America” is a film that tells the familiar message of doing what you want because you WANT to, not because you have too. Like Cameron Crowe’s “Almost Famous” (or even Tom Hanks’ “That Thing You Do”) it features a lead character who would rather play HIS music for a few people than sell out to play packed stadiums. However, like “Famous’” Russell Hammond, “Radio America’s” David, despite his trepidations, does begin to enjoy the good life. When the band’s first single begins to sell, they embark on a tour opening for a band drawing 20,000 fans a night. Soon David and Eric find themselves living the rock and roll lifestyle, from hotel rooms full of groupies to spending a night in jail for a little hijinx. David and Jane have started a relationship but that is quickly tossed away thanks to the spoils of the road. Meanwhile, Eric has become insufferable, going so far as to invite a young woman calling in to a radio program to “dress slutty and come on down” for a visit. Is this the end of “Monster” (their new, shorter name)?

The cast is strong here, with Christopher Alice giving David the quiet innocence of a true artist, making art because he likes it. As things progress we see him fighting, and eventually losing, that innocence. Which is ironic because all he wanted to do was play music. As Eric, Motsinger gets to act out more. The band’s front man, he becomes the face of Monster, for better or worse. Left behind is Jane, who follows their exploits on the road from her small town bank job. Also turning in solid work is Read MacGuirtose as English Joe, the band’s tour manager and director Showerman himself, who excels as the record executive that signs and guides the band.

The original songs, many of them written by and co-performed by Mr. Showerman, are also well done. It can really take a lot away from a film when the same song is featured several times on screen. If it’s not a good song it takes you out of the film. The songs here, most notably the title track, are bona fide rockers. Surely a soundtrack CD is on its way!

Starring: Reese Witherspoon and Sofia Vergara
Directed by: Anne Fletcher
Rated: PG 13
Running time: 1 hour 27 mins
Warner Brothers

Our Score: 4 out of 5 stars

Rose Cooper was destined to be a police officer. The daughter of one of the city’s finest, she spent her young days riding along with her dad. In the back of the car. Whether it was to be dropped off at school or heading to the prom, Rose saw the world from behind the plexiglass safety of a patrol car. We find her now working in the evidence room, more glorified secretary that law officer, thanks to an unfortunate incident in the field which is forever known as “being Coopered.” Kind of like being “Munsoned” in “King Pin.” However, when a high ranking member of a drug cartel and his wife agree to become witnesses for the state, Rose, because the law demands it, is sent to travel with the wife. Sounds like an easy job, right?

A hilarious mixture of “The Defiant Ones” and “Midnight Run,” “Hot Pursuit” is a film that lets Reese Witherspoon, an Oscar on her mantle for playing June Carter not withstanding, do what she does best: comedy. With her “by the book” attitude and Tennessee twang, her Rose could be a close cousin of Sandra Bullock’s Sarah Ashburn from “The Heat.” Paired up with, and against, the statuesque Vergara as drug wife Daniella Riva, Witherspoon is at the top of her comedic game here. If you’re a fan of television’s “Modern Family” (guilty) then you’re already familiar with Vergara’s broad comedy chops. The Columbian actress uses them well here, though finds a few scenes to do some real emoting as well.

The script, by David Feeney and John Quaintance, has great fun with both Witherspoon and Vergara and their comedy styles. A running gag, after Rose and Daniella begun to run, is that the paper and news sources continually get their descriptions wrong, with Rose growing shorter and Daniella growing older. And of course, Daniella’s massacre of the English language (“who do you tink you are, Terlock Holmes?”). These ladies are amateur bad guys but top notch comediennes and I hope Hollywood finds a way to put them back together again soon.

Director: Joss Whedon
Starring: Robert Downey Jr, Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, Aaron Taylor-Johnson, Elizabeth Olsen, Paul Bettany, James Spader and Samuel L. Jackson
Running Time: 141 minutes
Marvel

Our Score: 4 out of 5 Stars

We’re already ten movies into the Marvel Cinematic Universe when we wade into the battlefield with Ultron this first Summer Movie weekend so I think it’s a pretty fair assumption that most people have taken a stance on whether or not they’ll be grabbing a ticket for this latest offering. I know I’m betraying the idea of a critic’s ‘power’ here, but honesty’s the best policy. And honestly, we’re seven years in here and I’m on board despite it not always being the smoothest of rides. That said when it comes to this, the culmination of Marvel’s “phase 2”,  I was a bit overwhelmed. Age of Ultron is more of everything. How could it not be on the heels of its predecessors? There’s more characters, more back stories, and inevitably more destruction.  The former two will always play better than the latter for me but I can’t deny that Whedon’s film is an often wow-inducing spectacle that leaves our heroes on intriguing and unstable grounds.

As we learned from Iron Man 3, Tony Stark (Robert Downey Jr.) is capable of accidentally creating some demons. In that solo story, it just happened to be a slighted science colleague, but in Ultron he really steps up his screwup game. The Avengers have been tracking down the scattered physical remnants of their 2012 outing, Loki’s mind-controlling scepter included. With that ‘glowstick of destiny’ finally in the capable hands of Tony Stark and Bruce Banner (Mark Ruffalo), Stark’s vision of utilizing Artificial Intelligence in his technology to protect the Earth from off-world threats can be realized. But faced with the prospect of the scepter being returned with Thor to Asgard, he does a rushed job of instilling his AI, Ultron, with a peace-at-ALL-costs mentality. And after raiding the internet and all the digital files of humanity, Ultron notices that it’s really the humans who always are in the way of peace. Oops, our evil robot threat is born. When Ultron beams his programming across the globe to the HYDRA facility from whence the scepter came, he picks up two ‘enhanced’ twins (read: evilly experimented on to the point that they’re super. Or as Cobie Smulders’s Agent Hill sums them up, “he’s fast and she’s weird”) in the form of Scarlet Witch (Elizabeth Olsen) and Quicksilver (Aaron Taylor-Johnson) who have their own axe to grind with Mr. Stark, a former weapons dealer lest we forget.

Ultron himself is menacingly played by James Spader via motion capture that is really chilling, especially in his zombie-like entrance. I hadn’t bought into a CG villain like this since Davy Jones in the Pirates of the Caribbean franchise. As a character born of quip-master Stark, he has a wicked sense of humor that these films always benefit from, even if he’s not as clever or fun to watch as Tom Hiddleston’s Loki. Furthermore, it’s always a risk with comic book franchises to load their sequels with new characters but for me the twins were completely welcome additions. Olsen is particularly compelling as Scarlet Witch, whose powers to access the minds and darkest fears of her opponents induce some emotional, trippy visions for our core heroes. Later we’re introduced to the sublime Vision (played by Paul Bettany, on screen in the flesh, finally! Rejoice!) whose amazing origins are a bit too spoilery to divulge here but he is really a marvel (sorry) to behold. His introduction is one of the quietest sequences and winds up being the most entrancing. I suspect he, more than Ultron, will be what gets the most people talking in the category of new characters.

What’s interesting about Ultron as the chief villain is the gray area he thrusts the Avengers into. It’s all well and good when a mysterious army descends upon New York to be defended by the group, but when they are the creator of the threat, the onus to protect civilians is that much greater. Thus for better or worse, much of our battle sequence time is dedicated to getting the innocent populous out of range. A novel concern for a blockbuster really, though one wonders how much care they receive from the Stark Relief Fund in the aftermath what with their country destroyed…This responsibility is what causes the most strife amongst our original team. With the next Captain America film being Civil War—a comic book conflict that saw Cap and Stark fighting over a government registration of the super powered— it’s really exciting to see that seed of disagreement take root, evencoming to blows in a way they hadn’t since Thor was still a stranger to humans.

As you may have guessed with all my talk of hero in-fighting and quiet sequences being the best, I truly believe that the real power in these films ultimately comes from the scenes where things aren’t exploding. These actors have lived in these characters for years now and Whedon wisely gives them a couple extended sequences in which they just get to be human for a while. Of course they would all try and lift Thor’s hammer (side note: Thor in a red sports coat? Four for you wardrobe department), and hey, maybe some of them even have a family life, how crazy. There’s especially touching exchanges between Ruffalo’s Banner and Scarlett Johansson’s Natasha Romanov, both damaged in their own ways, that remind you just what an amazing caliber of actors this cast contains. Not to mention it’s especially pertinent to highlight their humanity in the face of legions of evil robots. I came away wishing for more of this in fact, since as far as I counted the film had four major city-leveling sequences to the first film’s two. Still, the destruction-fatigue continues to be offset by the cleverness embedded in the action—Cap’s shield certainly is a team player, even if that Hammer isn’t—and the cool new players in the field.

Starring: Russell Crowe, Jai Courtney and Olga Kurylenko
Directed by: Russell Crowe
Rated: R
Running time: 1 hour 51 mins
Warner Brothers

Our Score: 5 out of 5 stars

Here’s a little trivia for you. What do these people all have in common: Robert Redford, Warren Beatty, Kevin Costner, Clint Eastwood, Mel Gibson and Ron Howard? The answer is that they are all well-known actors who have won an Oscar for directing. If Hollywood thought like me, this list could also include Paul Newman, Rob Reiner, Barbra Streisand and Penny Marshall. It should already include Ben Affleck and I wouldn’t be surprised if it one day includes George Clooney. I mention all this because there is a very good chance another name could join this group soon: Russell Crowe.

Turkey, 1915. As the incredibly brutal Battle of Gallipoli rages on, the Turkish troops, led by Major Hasan (Yilmaz Erdogan) prepare for their assault on the invading Australian forces. As they charge towards the sea they are shocked to find no resistance. As they overrun the barricades they see that the Aussies have withdrawn. History will tell us that the Australian army lost over 10,000 people here; the Turks 17,000. But it will take a father’s love to begin to give all of those lost souls some sense of peace.

Brilliant in every way, “The Water Diviner” has already been honored in its native country, winning three Australian Academy Awards, including Best Picture out of a total of eight nominations. Incredibly Russell Crowe’s direction went un-nominated. There was a time many years ago when Crowe would have gone out, got pissed and kicked some asses for this slight. And I would have been right beside him! Like Kevin Costner with “Dances with Wolves,” he has taken a prime piece of history and woven it into an epic piece of storytelling. Crowe plays Joshua Connor, a farmer whose three sons went off to battle and never came home. As the countryside is quite dry (we learn that sometimes it doesn’t rain for YEARS at a time), Connor often spends his days with divining rods, looking for a place to sink his next well. It has been four years since the wars ended and Connor’s wife still grieves. She also is in disbelief, insisting that Connor go into the boy’s room before bed and read to them. To appease her, he does, and it’s heartbreaking to watch this father surrounded by three empty beds trying to get through “The Arabian Nights.”

After another family tragedy Connor sets off to Turkey in the hopes of finding his sons bodies and having them buried at home. When he arrives in Istanbul he is greeted by a young lad named Orhan (Dylan Georgiades) who leads him to a hotel run by his mother, Ayshe (Kurylenko). Her husband has also not returned from battle but she refuses to accept his death, instead stressing to her son (and herself) that he is just “away.” This is unsettling to her brother-in-law, who feels he has a duty to take her as a wife and raise his brother’s son as his own. After some red-tape cutting, Connor finds himself in the battle zone, where British troops are constantly digging up new skeletons. Joining the British in this expedition is Major Hasan and his trusted assistant, Cemal (Cem Yilmaz). Learning when the boys died, the Major leads Connor to a section of beach that stretches for miles. When the officers are questioned by others why they should change everything (they’re method of operations) for one father who can’t stay put Major Hasan replies, “because he is the only father who came looking.”

As an actor, Crowe has seldom been better. His devotion to family, his bonding with young Orhan, the growing respect and admiration he has for Orhan’s mother (and she for him) is evident in every frame. As Ayshe, Kurylenko is strong and brave, refusing to give up her husband’s memory. Erdogan and Yilmaz and also excellent, allowing just a bit of decency to creep through their military ethic. Technically, the film is beautifully done. The photography, both during the battle scenes and later, when taking in the beautiful Turkish countryside, is outstanding. Production values are top notch all around and the musical score, by David Hirshfelder (“Shine,” the recent “John Doe: Vigilante”) helps provide the right emotional cues. “The Water Diviner” is a first rate classic that’s sure to be remembered come Oscar time.

Starring: Jakob Salvati, David Henrie, and Emily Watson
Directed By: Alejandro Gomez
Rated: PG-13
Running Time: 100 minutes
Open Road Films

Our Score: 2 out of 5 stars

Good intentions, on a movie’s end, can only mean something if the message is delivered in a clear and concise manner. There’s an awkward juggling act going on in “Little Boy” between one too many themes and one too many outlandish characters. All of them eventually get whittled down to blunt stereotypes. There’s a sentimental message in “Little Boy”, but it’s packaged in so many weird and different ways, it ultimately becomes a turn off by the film’s end. The movie’s good intentions can easily be seen as insensitive manipulation.

“Little Boy” has its heart in the right place, but it goes about showing it’s tenderness in the wrong way. Pepper (Salvati) is an adorable little lad, that has stunted growth, or at the most, a growth spurt that is literally waiting around the corner. His best friend, and only friend, is his dad, James (Michael Rapaport). They play together, they imagine together, and they dream together. Their scenes together are thoughtful, but hammy. When Pepper’s obnoxious brother London (Henrie), can’t go overseas to protect our freedom during WWII, because he’s too much of a flat footed doofus, the government instead hand picks James.

“Little Boy” could be have been complacent with this set-up and followed the story of a boy trying to land back on his feet after the departure, and loss, of his best friend. But instead there’s an exhausting list of confusing story arcs and plot points. There’s the town priest that shamelessly ties in the boys confusion and misery with a path towards spiritual enlightenment. There’s a Japanese immigrant in town that draws the ire of the boy, as well as some wince inducing scenes of a young child using derogatory slurs in a vicious manner. There’s the boy’s comic book hero that, through a live performance of the comic book material, convinces Pepper that he’s magical. Then there’s the shoehorned role of Kevin James as a doctor who does nothing in his scenes but eat and flirt with Pepper’s heartbroken mom.

It’s a confusing mess with no steady focus or fluid plot path. There are also some scenes that seem really inconsiderate to the material it’s handling. One scene that comes to mind involves the moving attempting to draw parallels between Pepper being bullied and his father being captured by the enemy to be forced into a POW work camp for torture and starvation. “Little Boy” treats delicate topics similarly to how Lenny from “Of Mice and Men” pets a rabbit.

This isn’t an outright disaster. Some steady and impressive performances by Tom Wilkinson, Emma Watson, and Cary-Hiroyuk Tagawa keep the movie from completely derailing and their presence adds a nice level of believability to an otherwise silly concept. And maybe it’s because so much is happening without a clear future, but there is a level of uncertainty as the movie progresses. Even if you think you know what will happen, it does manage to throw a few curves, even though they’re very sappy.

“Little Boy” is shot on 35mm film stock, which may be a turn off for some who expect crystal clear clarity, but it does somehow add to the general nostalgia of this WWII era film (although I did spot a 21st century currency being used). The movie may have worked best as a flick about tolerance towards other people and the misconceptions our society still has. Or, as I said earlier, it could be about the trials and tribulations of a boy attempting to grow up while his father fights for our freedom. At the end of the day though, the acting skills of Salvati represent the childish direction of a director who clearly hasn’t grasped the concept of mature, thematic content that is the basis for strong dramas.

Director: Kevin Pollak
Starring: Jimmy Fallon, Freddie Prinze Jr, Judd Apatow, Christopher Guest
Runtime: 94 minutes
Heretic Films

Our Score: 2 out of 5 stars

Watching Kevin Pollak’s new documentary, which held its NY premiere at the Tribeca Film Fest last night, I had a newfound appreciation for Jerry Seinfeld’s web series ‘Comedians in Cars getting Coffee’. On that short series, now in its 5th season, Seinfeld tools around in a carefully selected retro vehicle with a guest comedian shooting the breeze on life and comedy, eventually parking at a cafe to wrap up their conversation with a meal. At roughly twenty minutes an episode that series exerts more visual flair while getting more to the heart of each of its individual guests than the star-studded but tedious, ninety minute Misery Loves Comedy.

In one and two shot setups, Pollak’s interviewees–numbering over fifty and spanning generations and countries–are encouraged to speak of their influences, their best and worst sets and the ostensible thesis, must one be miserable to succeed in comedy? That question, is just one of a dozen or so title-carded themes upon which the editors of the doc loosely tether what must have been days of content into some sort of order. The trouble with this structure is it is exhausting, lacking any sort of commentary or interaction from filmmakers, or even performance footage of standup.

The amount of star power is blinding, but the excitement is tempered when you realize all of its subjects will be exclusively in isolation. This format has been increasingly bested recently by webcasts like Marc Maron’s WTF, Chris Hardwick’s Nerdist, and yes the aforementioned Seinfeld series. While there are a number of laugh out loud anecdotes from the likes of Jim Jefferies, Stephen Merchant and Christopher Guest, the quantity over quality approach of this film lacks the depth suggested by its title.

Starring: Lucien Maisel, Christopher McDonald and Joe Flaherty
Directed by: Jacob Medjuck and Tony Dean Smith
Not Rated
Running time: 1 hour 28 mins
Portara Pictures

Our Score: 4 out of 5 stars

For some people, the start of summer means school is out and you have the next 10 weeks to just do nothing. Unless you were sent to camp. This is where we meet Fetus (Maisel), a very wise-beyond-his-years boy who has once again been sent away for the summer. Staying in a cabin that time forgot, named the Monkey Bin, Fetus is reunited with three other returnees: Grandpa (Jesse Camacho), who spends all day in his bathrobe, puffs on a pipe and often complains about his arthritis; Reckless (Scott Beaudin), the rule breaker and Toast (David Gibson McLean) who is introduced, via the smooth narration of John Cusack, as one who “likes guns.” We also meet New Kid

(Keegan Hiltz), who is given the moniker even though he’s been to camp before. If this all sounds fairly familiar, it’s because I think all of us, whether we went to camp or not, can think back to those few friends we had as kids that we still associate with today.

A cross between “Meatballs” and “Stand by Me,” “Age of Summerhood” makes great use of its outdoor locations to show kids as they are rarely portrayed on screen: as kids. I was certainly reminded of a time when you would leave the house at 8:00 a.m. and not come home until dinner, having filled the time between with adventures you shared with your pals. Be it making new friends or discovering your first love, childhood is that rare part of your life where YOU decide your fate. You can be the troublemaker, the lovesick optimist or, unfortunately, the sleep-walking bed-wetter. The unfortunate part is that he walks in his sleep and then wets in your bed!

The cast is another rarity – actual kids. There’s not a twenty year old playing thirteen in the place! All of the young actors bring an extra sense of believability to their performances just by being themselves. On the adult side, both McDonald and Flaherty deliver the laughs constantly. Also spot on is the film’s musical soundtrack, ranging from the theme from “St. Elmo’s Fire” as the camp’s wake-up music to such good times oldies as “Sweet City Woman.” If I had one problem with the film, which is not rated, is that it features some scenes that might be a little mature for its target audience. Of course, so did “Meatballs,” so “Summerhood” is in good company.

“Age of Summerhood” is currently available on home video and at Amazon and is a fine feature film debut for filmmaker Jacob Medjuck. Keep it in mind when school is out and the kids are looking for something to do.

Starring: Tim Ogletree, Joey Oglesby, and Dave Sheridan
Directed By: Scott Dow
Rated: R
Running Time: 88 minutes
ARC Entertainment

Our Score 1 out of 5 Stars

“The Walking Deceased” is the brain dead version of “Shaun of the Dead” or “Zombieland”. But I may want to be careful because uttering such clever comedy movies in the same sentence as “The Walking Deceased” could be considered an egregious statement, punishable by death, in some circles. Those circles would be horrified to learn that the creators of “The Walking Deceased” think it’s Kosher to lampoon those two treasured movies. I could only imagine the different forms of medieval torture they believe the creators should endure.

If you have more than the few singular brain cells the films creators had, you can piece together from the title that this movie sets its unfunny comedic sights on the popular AMC TV show, “The Walking Dead”. While the movie starts out as a terrible spoof of the show, it slowly transcends into a dumpster fire with generic juvenile humor. They hope you’ll laugh at the mere sights of breasts or butts. I’m pretty sure better jokes have been told on school playgrounds and better scripts have been written by those in a coma.

The script follows a rag tag group, compromised of different pot shots at characters from popular pop-culture movies and TV shows of the past decade. Once they all meet up, they move from one poorly built comedic set-up to another cheaply designed set piece.

Among this sad bunch of actors is Dave Sheridan, who’s had his fair share of parody and horror movies roles. He plays Sheriff Lincoln, and I mention him only because Sheridan really tries to sell his goofy character and he seems to be the only one with comedic chops. Everyone else seems content with falling back on predictable physical comedy, while others wait for their counterpart to finally say something remotely humorous. Sheridan is by no means an A-lister, but he’s joined by a group of unknowns, playing characters that will only seem familiar if you’re a fan of AMC’s smash hit.

When the movie isn’t finding a strip club during the zombie Apocalypse funny, they’re thinking that they’ll laugh at their Mad Libs word play with character names. This movie also isn’t short of jokes that men with low self-esteems, who spend their free time attacking people they don’t know online, funny. There’s also the plethora of jabs at the “Walking Dead” story arc. So even if you aren’t a general viewer of the AMC show, it’s OK. Even the people who understand what’s being ridiculed can join you in not laughing.

If “A Haunted House” and “Meet the Spartans” are considered the last fleeting breathes from the dying corpse of parody movies, then “Walking Deceased” should be considered one of the final stages of decomposition. If you want some chuckles and fun with your zombie movies, you can never go wrong with a rewatch of “Shaun of the Dead” or simply finding your local repertory theater and hoping that they will be showing “Return of the Living Dead”. If this movie somehow winds up in your hands. Burn it.