Starring: Chris Hemsworth, Viola Davis and Wei Tang
Directed By: Michael Mann
Rated: R
Running Time: 133 minutes
Universal Pictures

Our Score: 1.5 out of 5 stars

May I state the obvious? I shall. It seems like every week, and sometimes every day, there’s a breaking update on how someone’s social media account was hacked or how hacktivists have leaked thousands of valuable government or company documents (U.S. military and Sony, I’m looking at you). Cyber terrorism might end up being the most highly used news term for 2015 with how the landscapes of battles are changing. It’s a fascinating new realm in which to play with story ideas and birth high concepts. So why does “Blackhat” feel like such an outdated product?

Scrawny, pencil thin nerds are what we’ve come to expect in techno thrillers. We imagine them sitting behind a computer, clicking and clacking away at the keyboard, pushing their glasses up the brim of their nose, but instead we have the muscular, wavy golden haired Chris Hemsworth. He plays Nicholas Hathaway, one of the world’s greatest hackers, who’s incarcerated and still able to hack from prison by the way. He does push-ups in solitary, talks with piercing confidence, and seems un-phased by life in prison.

His skills will be needed after a criminal begins hacking his way into the financial systems of China and causes a nuclear power plant to go haywire. He’s recruited by Chen (Leehom Wang), a high ranking military expert for the Chinese government who, by the strangest coincidences of the movie, was Nick’s college roommate. They may have just as well have lived across the hall from our criminal by that logic.

After some unnecessary negotiations with Chinese and U.S. governments to get Nick free, the two meet, and along for the ride, is Chen’s sister, Lien (Tang). Oh by the way, she’s also a master hacker, computer expert, and anything else the script requires. The exact moment Nick and Lien lay eyes on each other, you know they’re going to hook up. It’s usually an obligatory character relationship that’s created to add tension or complicate matters for our group. It doesn’t.

The more I think about “Blackhat”, the more I wonder when this was written and who wrote it. Nick’s on the trail of a supposed genius that neither the U.S. or Chinese government can catch, but his knack for picking up on clues or finding evidence is ludicrously easy or frustratingly unrealistic. It makes you wonder why neither government wouldn’t already have the manpower or staff to catch someone who, as the movie says, is incredibly dangerous. Although it’s example as to why he’s so dangerous is because he’s not doing these attacks for political or financial gain. By the way, one of those ends up being true anyway.

It’s really hard to flat out hate something that tries so admirably. It’s almost like listening to a kindergarten class sing a beloved song. They’re butchering it, but they definitely got some room to grow. Director Michael Mann’s previous movies include “Last of the Mohicans” and “Heat”, but loses so much dramatic flair amidst techno babble. The cast is spick and span despite a baffling script. There are some neat visuals and gorgeous establishing shots. But this movie is just frustrating because it just can’t bring everything together.

Someone might want to consider programming some better hardware into this movie before releasing it. There’s a lot to enjoy, but it’s suppressed by mundane talk sets. It’s even more vexing for me because I keep trying to put my finger on it. What happened? It has a style that screams exciting, but constantly had me stretching my legs and covering my mouth as I yawned.

Starring: Kevin Hart, Josh Gad and Ken Howard
Directed by: James Garelick
Rated: R
Running time: 1 hr 41 mins
SONY Pictures

Our Score: 4 out of 5 stars

Imagine you’ve managed to ask a beautiful woman to marry you and now you need to fill out your side of the wedding party. You call around but none of your friends, or people you thought were friends, want to commit. Who you gonna call?

A surprisingly touching and funny film, “The Wedding Ringer” is the story of Doug (Gad), who is set to marry the lovely Gretchen (Kaley Cuoco-Sweeting). When he can’t find anyone to stand up with him the wedding planner (Ignacio Serricchio) points him in the direction of Jimmy Callahan (Hart) who, for a fee, will provide anything you need, from a best man (the package is called the gold bow tie) to a “Gold Tux,” which includes Best Man, multiple groomsmen and a bachelor party. Doug needs a Gold Tux. Jimmy agrees to supply it and recruits several of his friends with various skills (Jimmy feels that every “ringer” should have a distracting trick, be it the ability to talk backwards or having washboard abs to show off when necessary). But he stresses to Doug not to get too attached. Once the wedding is over he and the others are gone.

I must say I went into this movie expecting to hate it. I have not been a big supporter of Kevin Hart and expected another 90 mins of his screaming Chris Tucker impression. However, in “The Wedding Ringer,” he is quite funny and handles the role very well. This is due, in part, to the equally fun performance turned in by Josh Gad. Gad gives Doug a quiet sweetness to his character, one that slowly dissolves as he gains more courage from his new buddies. The script, co-written by director Garelick and Jay Lavender (the duo also collaborated on the 2006 Vince Vaughn/Jennifer Anniston comedy “The Break-Up”) is very witty and the supporting cast, which includes a former football player – the pride of Beaver Falls, Pennsylvania – and veteran actor (and “White Shadow” star) Ken Howard. After a month or so of prestigious films looking for some Oscar love this film is a welcome Cineplex treat.

Starring: David Oyelowo, Tom Wilkinson, and Carmen Ejogo
Directed By: Ava Duvernay
Rated: PG-13
Running Time: 127 minutes
Paramount Pictures

Our Score: 4 out of 5 stars

A curious thought popped into my head while I watched “Selma”, has there ever been a movie about the late, great, Dr. Martin Luther King Jr.? None came to mind and after doing a simple Internet search after the movie, it appears that no mainstream motion picture has attempted to tackle such an arduous task. And even though his life was only 39 years long, there’s so much storied history to attempt to adapt, it seems like an almost impossible feat to cherry pick the nuggets that are worth portraying. “Selma” does an admirable job finding the right event that parallels the present day struggles.

“Selma” places it’s microscope over 1965, dropping us in Selma, Alabama. The main flare up for controversy is voter registration. Anytime an African-American would attempt to register to vote, they were met insanely hard tests, economic/financial pressure, and of course, the looming threat of violence from residents and the Ku Klux Klan. While there is a civil rights movement, it’s very weak, quiet, and disorganized. Enter Dr. Martin Luther King Jr. (Oyelowo).

King’s presence gives a clearer focus to the angry groups of black people, which seemingly make up a decent percent of the town. The temptation of giving up or simply raising an angry fist to their oppressors is quelled by the soothing words of King. The scenes that work best is when King’s comforting a family mourning the loss of a loved one or withholding aggressive words in diplomatic discussions with President Lyndon Johnson.

Oyelowo gracefully handles King as best one could. Those famous words we all know from King (the “I Have a Dream” speech) are lacking from this movie, but in it’s place are some powerful, stirring calls for action and Oyelowo combines strength and determination while balancing humility. It’s a difficult task to come off so true to King’s persona, but Oyelowo does it. It helps that he has a fine cast surrounding him, including Tom Wilkinson, Tim Roth, and others who I am sure will have a future in Hollywood.

“Selma” would not have worked as a straight biopic, but works magnificently as a focus on grassroots activism. It does get a bit muddled when adding the subplot of King’s relationship with his wife. It also doesn’t help when it keeps cutting to gratuitous shots of Oprah Winfrey’s incredibly minor character. Of course when you’re one of the film’s producers, you can be on screen as much as you want. “Selma” is just a progressive step short of taking the stage with other grand movies, but I’m sure it’ll still gladly take a heaping plate of nominations.

As for it’s message, you’ll either get it or you won’t. And if you do get it, you’ll love it or you won’t. That’s perfectly fine though because whether you want to admit it or not, there’s still a big problem when it comes to equality and oppression. I’m not here to make a political statement or stand up on any soap box, but there’s something to be said about the powerful imagery featuring peaceful protesters being bashed with batons and chased down police in riot gear.

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Starring: Joaquin Phoenix, Josh Brolin and Katherine Waterston
Directed by: Paul Thomas Anderson
Rated: R
Running time: 2 hours 28 mins
Warner Brothers

Our Score: 5 out of 5 stars

Paul Thomas Anderson’s seventh feature film is the perfect culmination of a visual and storytelling style that he has been honing to a fine point since his first film, “Hard Eight,” in 1996. “Inherent Vice,” based on the 2009 novel from reclusive author Thomas Pynchon, hits perfectly. With outstanding performances, great music, and stunning – yet unobtrusive – production design.

The only thing I can think of that can be thought of as negative, is that this movie MUST be viewed multiple times. There are layers upon layers, and so many things that are easily missed with a single viewing. This film is definitely not for a passive viewer. I have seen this film several times now and I can’t even say that I completely follow the story. But I trust that all the information is there.

Watching Paul Thomas Anderson make the switch from the 2.35:1 aspect ratio down to the 1.85:1 ratio has been strange; as I have always loved anamorphic widescreen. But Anderson has complete control of his film frame, and no longer has that angsty drive to move the camera constantly. He puts the camera exactly where it needs to be and just lets the actors perform. And perform they do.

Joaquin Phoenix gives another spectacular performance; as does his co-star, Katherine Waterston, who matches him perfectly. Waterston was unknown to me up to this point – even though she is the daughter of Sam Waterston – but she holds her own within this ensemble cast. Her character of Shasta Fay Hepworth is probably the least quirky of all the characters within this story, but she delivers a much-needed vulnerability.

While the story is set in 1970, it doesn’t feel like a period piece. It LOOKS like one, but doesn’t feel like one. The costumes, set decoration, hair styles, and all around general look of this film say 1970 but it doesn’t do it in a tongue-in-cheek sort of way. You are never distracted by the cars they drive, or the fact they use telephones with cords on them. “Inherent Vice” is a period piece with a contemporary feel. Which is a hard thing to pull off. It’s easy to lose a younger audience by showing them a time and technology they never knew.

With a running time of 148 minutes it would be easy to get scared off by the length, but this film is never slow. It runs the perfect line of fast-paced performances offset by long, continuous takes. There are at least two shots within this film that are over five minutes long. And they work!

“Inherent Vice” is an off-beat masterpiece. Its story is as real as the actor’s portraying the characters believe; and they make the audience believe. It is one of the only films I have seen this year that I feel has the potential to have multiple awards consideration. Lead actors, ensemble, score, adapted screenplay and directing. It is a solid film from every angle, and definitely, DEFINITELY worth seeing.

Starring: Glen Campbell
Directed by: James Keach
Rated: PG
Running time: 1 hr 56 mins
PCH Films

Our Score: 5 out of 5 stars

“Who’s that?” Each time an image flickers on the screen the man watching the film asks the same question. With each questions comes the same answer… “that’s you.” Eventually, 75-year old Glen Campbell nods quietly and seems to understand. “OK,” he says. “I’ll be me.”

One of the greatest entertainers of the last century, Glen Campbell shocked fans in 2011 when he announced that he was battling Alzheimer’s disease. Not one to shy from a fight, Campbell not only decided to record one last album, “Ghost on the Canvas” but chose to embark on a three-week “goodbye” tour…one which lasted 151 shows! “I’ll Be Me” takes you along on that tour and shares with you the ups and downs of this most personal of illnesses.

When I was a kid, Glen Campbell was IT! An accomplished musician (he played on many records in the early 1960s, including hits by Elvis Presley, Frank Sinatra, Bobby Darin and the Monkees. In late 1964 he filled in for Brian Wilson when the Beach Boys went on tour and his masterful guitar playing can be heard on the bands’ greatest album, “Pet Sounds.” In 1967 he hit the top when he released the single “Gentle on My Mind,” following that up with songs like “Wichita Lineman,” “By the Time I Get to Phoenix” and starring alongside John Wayne in “True Grit.” The 1970s brought him his own television series, “The Glen Campbell Goodtime Hour” and hits like “Southern Nights” and the song he is forever linked to, “Rhinestone Cowboy.” This is how I remembered Glen Campbell. Seeing him here, in excellent shape physically but slowed mentally is jarring. I’ll admit that I felt tears well up in my eyes watching him take in those old family home movies and not recognize himself.

The film is not all sadness. Shots of Campbell going through his normal day, talking like Donald Duck and singing familiar songs (ironically, one of the songs he remembers well is “I Remember You”). Sometimes he’s confused and sometimes he seems to understand what is happening to him. “I can still jump,” he says at one point, “I just can’t stay up as long.” With his loving wife Kim by his side, and three of his children in his band, Campbell’s tour is mostly successful. There are a few bumps in the road, like when the teleprompter (which shows Campbell the lyrics) stops working or when, like a young child who doesn’t understand, he complains about things that normally wouldn’t bother you or I, but there is also a sense of hope in the film. Musically, Campbell is still at the top of his game. He goes off on difficult guitar solos during the shows, and the skill needed to achieve this is there.

The film also contains testimonies from many of the people who have been part of or inspired by Campbell’s career. From songwriter Jimmy Webb to Vince Gill, from Sheryl Crow to Bill Clinton, from Blake Shelton to Paul McCartney, the list is overwhelming. There are also comments from fellow musicians like Kathy Mattea and Chad Smith (from the Red Hot Chilli Peppers) who have dealt with Alzheimer’s in their families. Director Keach places his cameras so that you feel like you are part of the film. You’re not eavesdropping on family conversations, you’re part of them. He’s been behind the camera for many years (when he’s not in front of it) and has proven that he has an amazing eye for telling story. And where Glen Campbell that story is not over. As he tells his family as the tour winds down, “I’m not done yet!”

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Starring: Benedict Cumberbatch, Keira Knightley and Matthew Goode
Directed by: Morton Tyldum
Rated: PG 13
Running time: 1 hr 54 mins
The Weinstein Company

Our Score: 5 out of 5 stars

1951. A note is passed to a man behind a desk. “Alan Turing has been robbed,” it reads. Moments later, a couple of London’s finest enter the premises to find Mr. Turing (Cumberbatch) cleaning up. He is very curt with them, assures them nothing has been stolen and asks them to leave. Curious, one of the detectives (Rory Kinnear) begins to investigate Turing. The secret he uncovers is nothing compared to the one Turing has kept for a decade!

The second of two World War II films to open today, “The Imitation Game” is one of those great thrillers where, even though you know the outcome, you’re still on the edge of your seat. A brilliant mathematician, Turing is recruited by England’s MI6 – in a funny exchange, it is pointed out that England only has FIVE levels of Military Intelligence. The reply – “Exactly.” He and a group of code breakers are charged with cracking the ENIGMA machine, the device with which the Nazis send out their orders. A series of letters that creates a code, with the meaning of those letters changing every day, the ENIGMA machine is the deadliest weapon the Nazis have. With a possibility of 159,000,000,000,000,000,000 (that’s 159 million-million-million) settings, the Allies have been working around the clock trying to solve the code. Unfortunately, once midnight comes, they have to start over. The machine has been re-set and the previous day’s work is now worthless. Turing begins to devise a machine that he feels will not only know each day’s setting but progress further. The first digital computer.

As Turing, Benedict Cumberbatch gives a performance sure to be remembered come Oscar nomination time. Cumberbatch manages to make the seemingly unlikable man endearing. If I were to make a modern day reference, I would compare him to Sheldon, the character Jim Parsons plays on “The Big Bang Theory.” Humor and sarcasm are often lost on him but, as the smartest guy in the room (and one who knows he is) it really doesn’t matter. Turing is also gay, a choice that could land you in prison in the 1940s. Smarmy and secretly gay does not make a fun guy to hang out with. Through flashbacks (and flash-forwards) we learn the life lessons that have made Turing the way he is. Cumberbatch is assisted by his supporting cast, most notably Knightley as a female code breaker, Goode and Alan Leach as members of Turing’s team, Charles Dance as the man in charge of Turing’s project and Mark Strong as the head of MI6.

The direction is tight, keeping the story moving smoothly while constantly building on the suspense. Will Turing’s machine work? And if so, when? Half the fun in waiting is spending time with this incredible film. Sometimes the best things are worth waiting for.

Starring: Meryl Streep, Emily Blunt and Johnny Depp
Directed by: Rob Marshall
Rated: PG
Running time: 2 hrs 4 mins
The Walt Disney Company

Our Score: 3.5 out of 5 stars

In late 1987 and early 1988 it was a great time for Broadway musicals. Fans had three long running and beloved shows to pick from. “Les Miserable” won the Tony Award for Best Musical and was made into a great film. “The Phantom of the Opera” also won the Tony Award for Best Musical and was made into a so-so film (call it the curse of Joel Schumacher). One of the shows “Phantom” beat that year was the Stephen Sondheim/James Lapine take on fairy tales, “Into the Woods.” It too has been made into a film and, while it’s not “Les Miz,” it isn’t “Phantom” either!

As the film opens we are introduced to several familiar characters from all of our childhoods: Cinderella (Anna Kendrick); Little Red Riding Hood (Lilla Crawford); Jack (Daniel Huttlestone), the kid with the beanstalk; the Baker and his wife (James Corden and Blunt) and, of course, the evil witch (a well-cast Streep). Their stories all become intertwined when they all meet up and discover that each has something the others want. It’s just a matter of what they’re willing to do to get them.

On the plus side, I can safely say that it is virtually impossible to have a bad musical when the guy writing the tunes is Stephen Sondheim. If I listed all of his great shows I’d be here until NEXT Christmas so let me give you the first five off the top of my head – “West Side Story,” “A Funny Thing Happened On The Way To The Forum,” “Gypsy,” “Sweeny Todd” and “Assassins.” Though some of the songs from the show have been excised (as have some characters, many of whom have been combined into one) the score is still as hummable as it was almost three decades ago. The cast is also pitch perfect – a little Anna Kendrick joke there…did you see what I did there…with everyone having a wonderful time. Besides those named above, work by Tracey Ullman, Christine Baranski and Depp, as the Big, Bad Wolf is exemplary. The biggest surprise here is, ironically, the same actor who surprised me earlier this year in “Horrible Bosses 2”…Chris Pine. As Prince Charming, Pine is all dramatics and gravitas, singing strongly of his love for the mysterious Cinderella while making sure his shirt is open far enough to see his hairy chest! And what a great voice. Sorry William Shatner, but the answer to which Captain Kirk is the better singer sure isn’t you! Corden and Blunt also shine as a young couple in love who achingly want a child. Speaking of children, young Huttlestone brings a fun and youthful spirit to Jack. I was probably too hard on Huttlestone when I reviewed him as Gavroche in “Les Miz.” I think it’s just because I hate the character. When I saw the show live I actually had to stop myself from applauding when Gavroche was shot. My bad.

The negative is that, in order to make the film “family friendly,” some of the darker elements of the show have been removed. Some of the characters that died in the show now survive and those that do die do it off screen. Body parts are cut off and eyes plucked out. Speaking of body parts, the wolf is missing a major piece of his anatomy. To put it bluntly, in the show the wolf wanted to do more to Red Riding Hood then just steal her basket! And while those unfamiliar with the show won’t notice those changes, fans of the show will not be happy. What’s next? The movie version of “SPAMALOT” that doesn’t tout the necessity of having Jews to succeed?

Starring: Jack O’Connell, Domhnall Gleeson and Takamasa Ishihara
Directed by: Angelina Jolie
Rated: PG 13
Running time: 2 hrs 17 mins
Universal

Our Score: 5 out of 5 stars

I first heard the story of Lou Zamperini about 20 years ago while watching one of Tim McCarver’s HBO Sport Specials. I learned that Zamperini had run in the 1936 Olympics (which were held in Berlin) and, even though he didn’t win his event (the 5000 meter race) his time on the final lap so impressed Adolph Hitler that the leader had a personal meeting with him. I also learned that, during World War II, Zamperini’s plane crashed in the Pacific and he became a prisoner of war. The story ended by informing me that, thought dead, a memorial track event was held in California and that Zamperini actually showed up at the second one. An interesting story, to be sure. But the life of Lou Zamperini, how it was lived and how it was molded, took place between races and that is the story of UNBROKEN.

The film opens with Lieutenant Lou Zamperini (O’Connell in a star-making role), a bombardier, and his fellow airmen in a dogfight with Japanese pilots. Making it through, but with the plane badly damaged, the crew is given another assignment and put in a plane that is the talk of the base, mostly because it is in such disrepair. True to its myth, the plane malfunctions and the plane crashes into the Pacific Ocean. Eight of the eleven crewmen are killed but Zamperini and the others spend 47 days on a raft, living off of rainwater and the fish they manage to catch. They are eventually spotted and sent to a prisoner of war camp in Japan. They’re meager dinner is a handful of rice, thrown into their cells. Lou notices the names of nine sailors that had occupied his cell before him. When he inquires as to their whereabouts he is told they were beheaded. Welcome to Japan.

Masterfully directed with a script by a who’s who of Oscar nominated screenwriters, “Unbroken” is easily the most inspirational film of the year as well as one of the year’s best! Jolie proves herself to be a smart director, letting the cast and the script tell the story and capturing the magic on camera. Not to diminish her contributions here. Any time you have a film set during war time it is very easy to go for the heartstrings and gloss over things that would make lesser men cowed by what took place. But here Jolie refuses to hide, or deny, any of the treatment administered by Zamperini’s tormentors. We are introduced to Zamperini’s life via flashbacks and it is these scenes in which we learn why he is so tough. Taunted as a “dago” in school, Zamperini is urged to join the school track team, where his speed and ability to run long distances (helped, no doubt, by his mischievousness as a young hell-raiser) earn him the nickname “The Torrance Tornado.” His brother’s words – “A moment of pain is worth a lifetime of glory” – ring in his ears and inspire him.

In the P.O.W. camp he is singled out by the camp commander (Ishihara – better known as acclaimed guitarist and songwriter Miyavi) who, realizing what it takes to make it to the Olympics, figures if he can break Lou he will be successful in breaking the other prisoners. Known as “the Bird” – we learn that to call him anything else will get you killed – he is both impressed with Lou’s achievements but also disgusted with him, and the others, as enemies of Japan. His performance is frightening. O’Connell not only undergoes mental changes on screen, but physical as well. As his torment begins you can’t help but cringe at his emaciated frame. But it is the strength hidden behind his eyes that makes O’Connell’s performance truly stand out.

The story is straightforward and the script, by Joel and Ethan Coen (“Fargo,” “No Country for Old Men”), William Nicholson (“Gladiator”) and Richard LaGravenese (“The Fisher King”), adapted from the bestselling book of the same name by Laura Hillenbrand, steadily follows Zamperini throughout his ordeal. The film is beautifully photographed by Roger Deakins, a long-time associate of the Coen brothers and the score, by Alexandre Desplat, sets the tone of the film beautifully.

Starring: Quvenzhane Wallis, Jamie Foxx, and Rose Byrne
Directed By: Will Gluck
Rated: PG
Running Time: 118 minutes
Columbia Pictures

Our Score: 3 out of 5 stars

I need to be upfront with everyone. I have never seen any previous creation of “Annie”. I’ve never laid eyes upon the 1982 original film adaptation, I haven’t viewed a live stage production, or have taken the time to watch either made-for-TV movies on the little orphan. Like most though, I do know the basic premise, and the songs “Tomorrow” and “It’s the Hard Knock Life”. I also have fond memories of the delightful scene in “Serial Mom” where a woman is battered to death while singing along to the movie. I’m not telling you to not to take my opinion seriously or with a grain of salt, but just keep in mind, I had no expectations. With that said, “Annie” is probably your best bet for family fun this holiday season.

Annie (Wallis) is a cheeky young girl gallivanting around Harlem and searching for her parents, believing that they will return to her one day. Then they will be the happy family she dreams they will be. Annie lives with other foster children in the care of Miss Colleen Hannigan (Cameron Diaz). She’s soaked in booze and uses every vocal opportunity she has to put Annie down.

In the much nicer, cleaner and more brightly lit part of town, is Will Stacks (Foxx). He’s an isolationist cell phone tycoon and an absolute germaphobe. Not as bad as Howard Hughes though. His habits don’t mix well with his current mission, to become the mayor of New York City. Watching him in action, you actually wonder how someone like him went along with the idea of becoming a public official for one of the world’s largest cities in the first place. At one point he spits up mashed potatoes on a homeless person.

So by pure chance, these two meet. Stacks “saves” Annie’s life and he quickly disregards Annie, right after applying some hand sanitizer, as to not get any poor on him. His circle of trust, the lovely Grace (Byrne) and the skeevy Guy (Bobby Canavale) see the potential to increase his likeability amongst the populace by having him temporarily adopt Annie. Annie simply sees this as another great opportunity in life although she’s fully aware she’s a political ploy. Hijinks, flashy tech, and montages ensue along with some catchy tunes that I haven’t heard besides the aforementioned songs.

The highest praise I can give this movie isn’t to the movie itself, but to Rose Byrne and Quvenzhane Wallis. The actresses already radiate a delightful charm by themselves, but together they’re quite endearing. Their scenes together feel like the most genuine among any of the other characters. While most dialogue in “Annie” feels hokey or nauseatingly cute, the conversations between their two characters feel honest. It’s almost like they give each other some meaningful girl power to help propel their own self-esteem and optimistic outlook.

Outside of that, there are a list of negatives, including an overacting Cameron Diaz, an odd pro and anti-capitalist slant, and hit or miss self-aware winks towards the camera; just to name a few. What had me push all those aside is the charming energy this pumped into me. I tapped my toes, I smiled, I laughed, and if you have any kind of happy reaction to something, it’s worth noting.

While I may have nothing to compare “Annie” to in terms of its predecessors and stories, I must note that it comes off playfully mocking towards the original source content. It’s almost like it knows that what it’s doing is sure to piss some people off, such as fans of the original. Well. I’m not a fan of the original. I enjoyed its taunts, its urban take on the original score, and it’s smug cuteness.

Starring: Reese Witherspoon and Laura Dern
Directed by: Jean-Marc Vallee
Rated: R
Running time: 1 hour 55 mins
Fox Searchlight

Our Score: 4 out of 5 stars

When we first meet Cheryl Strayed (Witherspoon) she is pulling a nail off of her big toe. Cheryl is on a hike and her boots are too small. On the other hand, her pack is too big. So big, in fact, that other hikers have nicknamed it “Monster.” As she begins the 1,000 mile trek down the Pacific Crest Trail it is obvious that Cheryl is heading towards a clean future. And doing her best to lose the past.

Carried on the slight shoulders of star (and producer) Witherspoon, “Wild” is a sharp and smartly directed film that, despite the basic plot (woman hiking alone), manages to entertain. If you remember Emilio Estevez’ brilliant film, “The Way,” from a few years ago, “Wild” would be a most welcome companion piece.

Told via flashbacks, we learn, bit by bit, why Cheryl has undertaken this journey. From a childhood raised by a mother (Dern) she adored to a marriage she doomed by her drug use and promiscuity to the sudden illness that takes her beloved mother, we are given small peeks into her past and then see how they affect her path. As she begins she isn’t a mile down the road before she starts trying to convince herself that she can quit any time she wants. But quitting is not on her agenda. From temperatures in the hundreds to trails blocked by snow, the further she goes the closer she is to her goal. Along the way she finds the time to leave brief messages (usually bits of poetry) in the notebooks provided along the trail, gaining an almost cult like following from fellow hikers who so rarely see a woman make the journey.

Witherspoon, an Oscar winner almost a decade ago for “Walk the Line,” has really come back to the big screen recently with a vengeance. Her performance here (and her work in the up-coming “Inherent Vice”) is strong and steady. The same with Dern. Though only seven years separate the two actresses age wise, their scenes together are moving. This is due to a combination of performance and material. Based on Strayed’s book detailing her journey, Nick Hornby’s screenplay is both straight forward and humorous. When a writer for “The Hobo Times” tries to get an interview with Cheryl he is not dissuaded by her constant reminders that she’s hiking just like everyone else and is not the very rare “lady” hobo!

Vallee’s direction, like his work on last year’s “Dallas Buyers Club,” is strong yet understated. He allows the film to flow as slow and smooth as a walk in the woods. Coupled with the smart script and fine performances, “Wild” is a must see.

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Starring: Martin Freeman and Ian McKellan
Directed by: Peter Jackson
Rated: PG 13
Running time: 2 hours 24 mins
New Line

Our Score: 3.5 out of 5 stars

It’s over. After thirteen years and six films, Peter Jackson has completed not one but two amazing film trilogies that will be thrilling viewers for generations to come. Welcome to the final chapter of “The Hobbit” series, “The Battle of the Five Armies.”

When we last saw Bilbo Baggins (Freeman), he and his dwarf friends had royally pissed off the great dragon, Smaug, who was doing his best to destroy Laketown. In case you didn’t see the middle film, “The Desolation of Smaug,” the final film opens with the same scenes that closed part two. Kind of like getting to see the end of the fight from “Rocky” when you screen “Rocky II.” Once things calm down the film settles into its narrative…Thorin (Richard Armitage) has gotten “gold fever” and begins to distrust those around him. Did you ever see the old Daffy Duck cartoon where he stumbles into a vault and begins to hoard all of the treasure? Well, it’s pretty much like that except Throin doesn’t run around yelling “mine, mine, mine….no, no, no!” Meanwhile, the Orcs are heading towards our heroes’ location, guaranteeing that the title battle will indeed take place – Orcs, Dwarves, Elves and Eagles spend an almost wordless 45 minutes kicking serious ass. So why am I not as in love with this film as the previous ones? One word: Legolas. Apparently his long blonde hair makes him able to defy gravity among other incredulous activities. Yes, I know it’s a fantasy but come on all ready!

On the plus side the film’s cast is as game as ever to bring the story to life and the special effects continue to amaze. If nothing else, Jackson has established himself as a master storyteller, even when the story sometimes goes a little off track. The saga is over and what never could have been imagined on screen two decades ago has now come to life. If that’s not something to be thankful for at this time of year I don’t know what is.

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Directed by: Ridley Scott
Starring: Christian Bale, Joel Edgerton, John Turturro, Aaron Paul, Ben Mendelsohn, Sigourney Weaver, Ben Kingsley
Distributed by 20th Century Fox
Running time: 154 minutes

Our Score: 1.5 out of 5 stars

I really had no interest in seeing “Exodus: Gods and Kings” prior to seeing the trailer. They really roped me in with that trailer. It looks action packed and visual entertaining. Well, that trailer certainly had a great editor. “Exodus: Gods and Kings” is a bloated, boring, 2.5 hour mess. I wasn’t convinced by any of the performances at all. I was really hoping for an epic action film but this was very slow paced and when the action came it had little to no pay off.

Everyone should know the story of Moses but in case you don’t, the film follows a once respected General, Moses (Christian Bale), who comes back after being banned by the Egyptian Pharaoh Ramses (Joel Edgerton) to save free the 600,000 slaves that are his people. After warnings to Ramses, the city is taken by a sea of deadly plagues. Moses and his people set out on to escape Egypt and to carry out God’s plan.

When I see a movie in the theaters, I have never fallen asleep ever. This film almost came close to ruining that streak. The visual effects were good when they were happening but I just felt like they really far and few between. There were two cool scenes and when the plagues start and the part of the sea other than that. I really was underwhelming. Same goes for the 3D in the film, that was a real shame and wasn’t used at all. I mean literally nothing. I feel bad for Bale and Edgerton because they really are great actors but this was a very poor choice for them. Save your money and catch this on cable.

Starring: Chris Rock, Rosario Dawson and Gabrielle Union
Directed By: Chris Rock
Rated: R
Running Time: 101 minutes
Paramount Pictures

Our Score: 2 out of 5 stars

It’s really been a year for meta commentary in entertainment. Everything from “The Lego Movie” to the bizarre internet phenomenon of “Too Many Cooks” has left viewers scratching their heads or having to turn on their brain when consuming their favorite pop-culture substance. I’m sure someone at some point, will compare “Birdman” to “Top Five” for how it depicts its main character, but I’d be a little offended if someone was to put these two movies at the same level.

“Top Five” is written and directed by Chris Rock, who also stars in the main role, Andre Allen. Sometimes Dre for short. He’s a comedian powerhouse who’s known for his franchise about a bear cop by the name of Hammy. That part of his life is over now, along with a heavy drinking problem. He’s sober and trying to reinvent himself by turning to a serious role, a Haitian rebellion leader in the movie Uprize. Changing from an actor in a bear suit to an angry slave wielding a machete draw some of the biggest laughs for me, but sadly the movie strays from this rich, fruitful tree of humor.

Allen also has to worry about his upcoming television wedding with the reality star sensation Erica Long (Union), promoting Uprize to people who are more interested in asking him if he’s doing another Hammy movie, and doing an interview for Chelsea Brown (Dawson). On his busy day, there are some detours that include a visit to his extended family. There’s also the constant struggle with sobriety. Hidden bottles of liquor, store fronts lined with a rainbow of alcohol, all tempt him. So much is cramped into its short runtime; it feels choppy and rushed at moments. Andre is struggling to find his identity and reclaim his confidence, but not enough time is given to focus on his emotional tussle.

It’s also a movie that’s highly interested in ridiculing critics, reality TV, cellphones, the media circus, and celebrities, but it also has very little to say and simply eases into a predictable storyline. It’s unfortunate that Rock couldn’t take a more ambiguous approach to Andre’s life instead of having to verbally explain everything, sometimes twice, to the audience. Chelsea, through a day of connecting and learning one another’s feelings, becomes the obvious romantic interest as Andre slowly realizes Long is in a relationship for the ratings.

The amount of humor might lead audiences astray from whatever noble point Rock is trying to make about comedy. There’s the sense that under the raging sexual debauchery and hot sauce tampon jokes, there’s something to be said. But its voice is barely heard above the loud squeals of laughter from the audience and the sights of many prominent comedians. There’s a great message to be told about comedy and how art has an amazing power to heal, but I’m afraid Chris Rock couldn’t quite hit the nail on the head.

Starring: Hilary Swank, Tommy Lee Jones and John Lithgow
Directed by: Tommy Lee Jones
Rated: R
Running time: 2 hours 2 mins
Roadside Attractions

Our Score: 3 out of 5 stars

Meet Miss Mary Bee Cuddy (Swank). Strong, healthy…single. Mary has an impressive ranch, livestock, money in the bank and a nice home. What she doesn’t have is a husband. She often entertains gentlemen callers, making them a fine dinner and then singing for them. But no luck. When she finally takes the bull by the horns and proposes marriage to one of her callers she is flatly turned down. “Sorry,” the would be beau says as he leaves the house, “you’re too bossy!”

A story about resilience, forgiveness and redemption, “The Homesman” is a well-cast, well-intentioned film that hopefully read better in its original novel form. The basic plot concerns three women (Grace Gummer, Miranda Otto and Gro Svendsen) living in the Nebraska Territory who have “taken ill” and are now believe to be mentally unstable. They have done horrible things and are being shipped to a minister in Iowa and his wife for caretaking. Mary volunteers to take the women on their journey and, after coming across a claim-jumper (Jones) on the verge of being hanged, has him accompany her in exchange for saving his life. With the women secured in the back of an enclosed wagon the two set out on the nearly five week adventure, bonding somewhat along the way. Somewhat.

As co-star, director and co-writer/producer, Tommy Lee Jones wears many hats (including an impressive black one in the film). He moves the story along well, not spending a lot of time on any external storylines. Unfortunately this sometimes works against him as a majority of the film feels like a series of clever “moments” that occur when the story calls for them. The cast does fine, with familiar names like Tim Blake Nelson, James Spader, William Fichtner and Barry Corbin doing good, solid work.

Another positive is the beautiful, picture-like scenery that Jones and Rodrigo Prieto, his cinematographer, discover on location. The work here is similar to his Oscar nominated achievement with “Brokeback Mountain.”

Starring: Jason Bateman, Charlie Day and Jason Sudeikis
Directed by: Sean Anders
Rated: R
Running time: 1 hours 48 mins
Universal

Our Score: 4.5 out of 5 stars

What do you do when your trio of friends get away with trying to kill your bosses? You go into business, hoping to sell your latest invention: The Shower Buddy! Think of all the different things you can do at a car wash and move it to your shower and you have an idea of what it does. Mistake number one: naming your company after yourselves. Nick-Kurt-Dale. Say it real fast and you’ll see the problem. Mistake number two: sell your product to Bert Hanson (Christoph Waltz) and his spoiled son, Rex (Chris Pine). Who said business was easy?

Consistently funny, with a few surprises, “Horrible Bosses 2” finds Nick (voice of reason Bateman), Kurt (always horny Sudeikis) and Dale (frantic and funny Day) back on the wrong side of the law when they attempt to pull off a kidnapping in an attempt to get back at Hanson senior, who has pulled a fast one and is about to take over their invention. Unsure of how to exactly go about doing the deed, they turn to a couple of pros: former boss/now convicted felon Dave Harken (Kevin Spacey) and old confederate Mother F***er Jones (Jamie Foxx). They even manage to run into Dale’s old employer, dentist Julia Harris, who now spends her time attending Sex Addiction meetings.

The cast is in fine form. The three leads go above and beyond in making sure this sequel is entertaining and not derivative of the first film. Waltz does his best to convey a Snidely Whiplash-type attitude but I’m not sure he understood the humor needed. On the other side of the spectrum, Chris Pine is amazingly funny. Who knew Captain Kirk had a sense of humor? His work here makes me think he will do well next month when the musical “Into the Woods” is released. In limited screen time Spacey, Foxx and Aniston are equally funny.

The script, by director Anders and John Morris (they also wrote last week’s “Dumb and Dumber To” as well as Sudeikis’ last film, “We’re the Millers”) ladles on the R-rated laughs in large doses, like gravy on your Thanksgiving turkey. It’s just as satisfying and there’s no need to unbutton your pants afterwards.