Starring: Bruce Springsteen
Directed by: Baillie Walsh
Rated: Not Rated
Running time: 2 hrs 4 mins
Black Dog Films

Our Score: 5 out of 5 stars

“”I saw my rock and roll past flash before my eyes. I saw something else: I saw rock and roll’s future and its name is Bruce Springsteen.” Jon Landau, May 9, 1974

“This guy seems to be pretty popular.” Floyd Smith (my dad), October 31, 1975, handing me the only album he ever bought me, “Born to Run.” It was his attempt to connect with his fifteen-year old son. He had seen Springsteen on the covers of TIME and NEWSWEEK magazine earlier that week.

Since the early 1970s Bruce Springsteen, both solo and with the E Street Band, has given his musical soul to his fans. I first saw him live on February 5, 1981 while he was promoting his album “The River.” All total I’ve seen him live five times. What’s amazing is that he played just as hard (and just as long) in 2008 (I missed the 2012 “Wrecking Ball” tour) as he did nearly three decades earlier. He loves his fans and his fans love him. “Springsteen and I” is a documentary about that love.

The film opens with the Boss and the band on stage. He’s working the crowd into a fever pitch, thanking them for the energy they provide. “We need you,” he tells them. And they need him. The next two hours is a collection of homemade videos submitted by fans describing their relationship with Springsteen. One woman tells about how she holds a photo of Springsteen up in front of her infant child and repeats, over and over, “Daddy.” Others tell of how his music has affected their lives. Some of the stories are incredibly personal. A young man whose girlfriend broke up with him the day of the concert bravely attends the show alone with a sign reading “Just got dumped. Can I get a hug?” Springsteen happily obliges. Another man recalls the time he went to a show dressed as Elvis and bearing a sign that asked “Can the King sing with the Boss?” A young woman tells the story of how she got Springsteen’s attention with an “I’ll be your Courtney Cox” sign and soon found herself dancing on stage to “Dancing in the Dark.” What makes these stories even more amazing is that director Baillie Walsh has been able to go into the Springsteen archives and find the footage of these events and many more.

Walsh, who helmed the fantastic Oasis documentary “Lord Don’t Slow Me Down” as well as the feature film “Flashbacks of a Fool,” has dug out some gems. From raw and grainy early 1970s video tape to the multi-camera in house feeds of today, he presents an outstanding look into the man and his music. The musical numbers are complimented by the fans that share their memories, both funny (“I lost my virginity to ‘Thunder Road,’” says one woman) and poignant (“He taught me to be a better man”). Many are asked to sum up Springsteen in three words. Among the ones given: Poet, passion, comfort, hope, desire. One fan defines him as a Working Class Hero. But the words most fans, myself included, want to pass on to Springsteen come straight from the heart: Thank you!

“Springsteen and I” will debut in theatres around the world on July 22, with an encore presentation on July 30. For the location of a theatre near you visit www.springsteenandi.com.

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Starring: Patrick Wilson and Vera Farmiga and Lili Taylor
Directed by: James Wan
Rated: R
Running time: 1 hr 52 mins
Warner Brothers

Our Score: 4 out of 5 stars

I don’t know what happened to horror films. Somewhere between “The Exorcist” and the “Saw” series the genre’ seemed to think that substituting buckets of blood for suspense was a good trade. But suspense is what makes a film great. You didn’t see the shark in “Jaws” for almost 40 minutes but you’re heart beat like crazy every time you heard John William’s music. “Paranormal Activity” kept you glued to the screen without so much as a drop of blood. Now comes “The Conjuring,” a film sure to keep you on the edge of your seat.

Based on real events, the film tells the story of two families. One is the Perron family. Dad Roger (Ron Livingston), mom Carolyn (Taylor) and their five daughters. They’ve just moved into an old “fixer-upper” of a house in Rhode Island. The other family is the Warrens, Ed (Wilson) and Lorraine (Farmiga). The Warrens are paranormal investigators. They go where needed and answer when called. When things begin happening at the Perron home the couple is contacted and asked to investigate. What they find will challenge the faiths of both families.

I must give credit to director Wan. As the creator of the “Saw” series he could have rode that blood-soaked horse for years until it was dead. Instead he has crafted a film that relies solely on its actors to convey the horrors portrayed. The cast puts their all into the film, turning what could have been a cliché’d filled blood-fest into a modern horror gem. Tops among the actors are Farmiga and Taylor. Both are mothers and both do their best to keep their children safe. The Warrens have a habit of keeping a souvenir from each of their investigations which makes having a curious daughter sometimes exasperating. Both women also endure a barrage of physical abuse as the spirits that they are fighting do all they can to win the battle. The chills are genuine and I dare you not to jump.

The Warren’s would eventually go on to fame as the investigators of what is now known as the Amityville Horror. But this case surely had to prepare them for what they later found.

Starring: Bruce Willis, John Malkovich and Mary-Louise Parker
Directed by: Dean Parisot
Rated: PG-13
Running Time: 1 hr 56 mins
Summit Entertainment

Our Score: 3 out of 5 stars

The loveable sociopaths of the CIA retirement home are back with some fresh new villains and killing machines accompanying them for the ride. This sequel to 2010’s “RED” once again showcases the elderly handing out some ass kickings, though with less charm and wit than the original.

Frank Moses (Bruce Willis) is trying out the normal life. Shopping at CostCo and trying to find the latest gadget to put in his home. His girlfriend Sarah Ross (Mary-Louise Parker), who is still coming down from the adrenaline rush of the events in “RED”, is not as enthusiastic about settling down and making dinner. As the film starts, the paranoid Marvin Boggs (John Malkovich) springs up, trying to sway Frank back into the spy game. As much as Frank says no, he really doesn’t have much of a choice because, as in the first film, he’s a marked man. The cold war era has come back to haunt him. A recently released document shows a portable nuclear device is missing and everyone’s pointing their fingers at Frank and Marvin.

As in “RED,” the film is peppered with both well known and B-list actors to supply the excitement. Jack Horton (Neal MacDonough) is tasked with capturing Frank, but realizes even a squad of machine gun wielding men can’t stop an unarmed Bruce Willis. Also hot on the trail of Frank is Han Jo-Bae (Lee Byung-hun), who has a personal vendetta against him. During Frank and Marvin’s journey to find out more about this lost WMD, they track down a diabolical wine connoisseur who is known simply as The Frog (David Thewlis). The trio also accidentally bump into one of Frank’s former flames, Miranda (Catherine Zeta-Jones). We’re also treated to the best character in the movie, Edward Bradley (Anthony Hopkins). He’s a delusional former scientist who might just hold the whereabouts to the weapon.

During “RED” the characters traversed the United States. This sequel takes us first class on a wild trip around the world that touches down multiple times in three continents. It’s a visual step up, but our time in each city is short lived. Before we’re given enough time to chew on some of the scenery or digest any fresh details to the story, we’re back on the plane to another exotic location to have more exposition crammed in our gullets. When the flames die down and the guns run out of ammo, the movie hits the brakes hard.

The returning cast lack that spark of excitement and that innate taste of chaos they seemed to bathe in with “RED”. The first was obviously an introductory piece to this fantastic world of geriatric spies and assassins. Without any graphic novel to really fall back on, the writers (the Hoeber brothers) pretty much had free range to do whatever they want. So, they opted for a bland imitation of the first script. They had a chance to scratch away at the surface and find some nuggets of fun, smiling insanity. Instead the characters act out hollow versions of their previous selves when their guns are in their holsters. You’ll find yourself re-adjusting in your seat when Frank wonders aloud if he can keep Sarah safe from this horrible predicament. Yes you can. Now give her a gun.

Even though this isn’t a step-up from the original, it’s still great to see the trio of Frank, Martin and Sarah bicker and quip at each during a gun battle. It’s also still fun that every character introduction or entrance into a scene comes with screaming, bullet hole ridden furniture and shattered glass. It was a blast at the theater, but I couldn’t shake the feeling that these characters deserved better. So, if you’re looking for the same chuckles, violent eye candy and seeing some of your favorite aging actors embody James Bond or Rambo, give “RED 2” a look.

Starring the voices of: Ryan Reynolds, Paul Giamatti and Michael Pena
Directed By: David Soren
Rated: PG
Running Time: 1 hour 36 minutes
20th Century Fox

Our Score: 3 out of 5 stars

Dreamworks Animation has been nipping at the heels of Pixar for a while now. With 26 animated releases under their belt, they’ve come really close and even exceeded when pitted against the Willy Wonka’s of computer animation. Flicks like “Shrek”, “Kung Fu Panda” and “How to Train Your Dragon” have shown the creative pool at Dreamworks can hit a homerun in terms of both critical acclaim and box office numbers. “Turbo” will not be one of those.

Theo (Reynolds), who also goes by Turbo, is a garden snail who pounds energy drinks (as much as a snail can) and watches his hero, Indy 500 Champion Guy Gagne (Bill Hader) on TV at nights. Turbo is inspired by Gagne and wants to race just like his hero. The only thing stopping him is his mundane life spent sorting bad and good tomatoes in the garden. Also holding him back is his brother Chet (Giamatti) who aggressively tells him his dream of racing are ludicrous. And, of course, the obvious fact that he’s a snail. After a freak accident that melds his body with nitrous oxide, he goes from moving an inch a minute to well over 200 mph. Amidst the chaos of figuring out his newfound powers, Turbo and his brother are discovered by Tito (Pena). Tito runs a taco stand in a decaying strip mall with his brother. In his spare time he races snails with surrounding business owners. Just like Turbo, Tito has big dreams as well as ideas to promote the taco stand.

If this movie sounds a tad uneven, that’s because it is. I’m not saying that “Turbo” isn’t an entertaining kid’s flick. It is. The animation is quite gorgeous with some precise background detail. The first half of the movie is surprisingly creative as we see the daily life of snails, including their assembly line style of harvesting tomatoes. Ryan Reynolds is one of those actors that I believe does not get enough credit for the roles he does. He really brings a fun and youthful energy to Turbo and you can sense he’s giving his all every time he voices one of Turbo’s reactions. It took me almost forty-five minutes to realize Bill Hader was putting on his best suave French voice as the prideful Gagne. As for Paul Giamatti, you just can’t go wrong with him as the misguided voice of reason during times of chaos. The three leads deliver but there’s still one little problem. They’re buried beneath a slew of characters.

By the end of the movie, I wasn’t quite sure who the story was about anymore. Turbo meets five other snails, voiced by Snoop Dogg, Samuel L. Jackson, Maya Rudolph, Ben Schwartz and Michael Bell. They all seem to be fighting for attention when they’re on-screen. The same problem occurs when the business owners of the decrepit shopping area, voiced by Luis Guzman, Richard Jenkins, Ken Jeong and Michelle Rodriguez, make an appearance. By the time the Indy 500 rolls around, all that charm Reynolds channeled into Turbo is lost among too many obnoxious snail one-liners and monotonous store owners.

For kids, the whole “Never give up on your dreams” theme will be fresh, but their parents will see that theme coming within the first five minutes. This isn’t a memorable children’s movie, but that doesn’t mean it’s still not a decent film to take your kids to. Luckily there’s enough humor for adults and their wee ones to appreciate. Also, Jackson gleefully pays homage to an earlier movie role of his. That being said, if your child gets the joke, I might have to question your parenting skills. The writers do their best to show respect to the sport of racing, but they also manage to be in on the joke that, yes…you’re making one giant left turn 800 times. “Turbo” won’t take the checkered flag when put against some of the other kid-friendly films this summer but, even on a bad day, Dreamworks can still stay in the race.

Warner Brothers Pictures and Legendary Pictures Pacific Rim
Starring: Charlie Hunnam, Rinko Kikuchi, Charlie Day and Ron Perlman
Directed by. Guillermo del Toro
Run time: 2 hours 11 minutes
Rated: PG-13
Warner Brothers

Our Score: 4 out of 5 stars

Beginning in the present day and running through the year 2025, “Pacific Rim” delivers a futuristic lesson about coming together; not as a nation or as a race, but as humans joining together to keep Earth safe from destruction.

2013 brings the first attack. It comes from the bottoms of the sea as opposed to space, where we look for our aliens to come from. A monstrous being called Kaiju rises from the depths and wreaks havoc before it can be brought down with tanks and air support. Soon another one rises and again, with some effort, it is destroyed. The world realizes that protection will be needed and humanity develops a brand of robots called Jaegers that will be able to take on the 3,000 ton monsters. Each Jaeger is operated by 2 humans in a process called “drifting.” With two brains responsible for one wave length, every movement is perfected and synched in able to control something so big. Brothers, cousins, fathers and sons; all are used to drift as they will operate better together rather than two strangers. Over time the Kaiju develop and adapt, becoming stronger, larger and quicker. In time there are only four Jaeger teams left: retired pilot Raleigh Becket (Hunnam) and rookie up an coming pilot Mako Mori (Kikuchi), are among those called upon to rescue the world and block the intruders from the Kaiju’s world.

This is a film where the acting is secondary but, then again, this is an action movie with some underlying themes and not a movie looking to earn nominations for best actor or actress. I don’t think that is what director del Toro was trying to accomplish anyway. The story is great and it flows well. There were some predictable parts I had worked out before they happened, but the battle scenes and special effects ore than made up for that.

“Pacific Rim” is action packed and visually brilliant. I had the luxury of seeing this in IMAX and 3D and it is truly the only film that I have ever seen in 3D where I felt some scenes put me a little to close to the action for comfort. Director del Toro has a great reputation when making movies for American audiences and this one is no different. This easily could have been a film thrown together with loud noises, poor 3D and horrible special effects but del Toro delivers another success. If you plan to see this film I urge you to see it on the big screen

Starring: Adam Sandler, Kevin James and Chris Rock
Directed by: Dennis Dugan
Rated: PG 13
Running time: 1 hr 41 mins
Columbia

Our Score: 3.5 out of 5 stars

Ah, Adam Sandler. You have amused me for years with your comedy albums and films. You’ve even amazed me with some strong dramatic work (though, to be honest, when you’re working for Paul Thomas Anderson you’re pretty much working for the best). I’ve defended you over the years because, like your audience, I’m a 13 year old boy in an old man’s body. That being said, “Grown Ups 2” is one of your better films in recent years.

When we first met the cast they were assembling to attend the funeral of their childhood basketball coach. Lenny (Sandler) was a successful Hollywood player. Lamansoff (James) and Kurt (Rock) were family men and Marcus (David Spade) was a man-child who would sleep with anything. Some things never change. “Grown Ups 2” finds all four men now living back in their old home town. Where they had to experience the ups and downs of growing up now that rite of childhood goes to their children. Lenny’s kids get teased because of their past life in Hollywood but everyone, as is the fate of teenagers, have their own problems to endure. Those problems, and the lessons learned, form the basis for the majority of the film. A subplot, with an unruly group of college kids, led by a hilarious Taylor Lautner, forces the adults to deal with similar problems as they too are bullied away from their favorite swimming hole. Not a hard plot to deal with, to be sure, but it’s enough to keep the film moving.

Acting wise, the four returning stars (no Rob Schneider to occasionally yell “You can do it!” this time) have a great chemistry, no doubt built on by their personal friendships. Their wives (Salma Hayek, Maria Bello and Maya Rudolph) have learned to accept their mentally under-developed men because, when it comes down to it, they’re excellent fathers. Or at least try to be. As in most Sandler films, the cast is loaded with “regulars:” pals Nick Swardson, Peter Dante, Allen Covert; “Saturday Night Live” vets like Tim Meadows, Jon Lovitz and Colin Quinn. Even some of his sport buddies, including Dan Patrick, Chris Berman and Shaquille O’Neal make an appearance. Enough famous faces to keep the audience buzzing each time a new one popped up. Some of the gags are childish but really, isn’t that why you go to a movie like this in the first place? I know that’s why I do.

Starring: Cambrie Schroder, Ricky Schroder and Cliff Potts
Directed by: Ricky Schroder
Rated: PG
Running time: 1 hr 30 mins
Arc Entertainment

Our Score: 4 out of  5 stars

In this summer of big blockbuster films with robots, monsters and men of steel you may need a break from all of the loud noises and bright lights. May I suggest “Our Wild Hearts,” a quiet family film with a message which will next air on the Hallmark Movie Channel next month?

Willow (Cambrie Schroder) is a 15 year old, Malibu-raised girl. She lives with her single mom and spends her days attending dance class and hanging out at the beach with her friend Zoe (Veronica Dunne). Zoe is the typical spoiled rich kid, constantly complaining about how her father keeps tabs on her but relenting on going to lunch with him because he’s giving her very own credit card. Willow tries to listen like the best friend she is but inside she pines for the father she’s never known. She has tried to talk with her mom Katie (Angela Lindvall) but the conversations never get far. One day she finds a box in her mother’s room containing unsent letters and a picture of a cowboy. Confronting her mother she learns her father worked on a ranch that Katie once visited. His name is Jack and he doesn’t know he has a daughter. Yet.

Beautifully photographed, “Our Wild Hearts” is Ricky Schroder’s strongest work yet from behind the camera. A true family project (director Schroeder produced and co-wrote the film with his wife, Andrea and several of his children have roles in the film), “Our Wild Hearts” is really two stories with the same message: to follow your destiny no matter what. The “hearts” in the title belong to both Willow and a beautiful wild stallion named Bravo. Jack is intent on catching Bravo in order to sell him while Willow wants to let him run free. Father and daughter butt heads often, not only with each other but with nearby rancher Grizz, played by Martin Kove in full “Karate Kid” villain mode. Grizz and his boys (played by Luke and Holden Schroder) try every means necessary, be it horse, jeep or helicopter, to capture Bravo while all Jack has is his lasso and Top (Potts) his partner in the ranch. Once Bravo is captured the film addresses the question of whether wild animals should continue to run free or be broken and sold. This question only leads to more and the answers are what carry the film to a satisfying conclusion.

The cast is solid, with Cambrie Schroder giving a winning performance in what could have been a very cliché’d role. Hers is the spirit that carries the film and it is amazing that this is her first acting gig. I predict many more in her future. Ricky Schroder is equally good and the natural chemistry between he and his on and off-screen daughter is visible. Potts, in his first performance in over a decade, is quick with fatherly advice while Kove is easily the father nobody would want. The scenery is postcard-perfect and the musical score by Michael Lord helps drive the story.

The film next airs on August 2,2013 on the Hallmark Movie Channel. For more screening information go to www.hallmarkmoviechannel.com

Starring: Greg Kinnear, Lily Collins and Jennifer Connelly
Directed by: Josh Boone
Rated: R
Running time: 1 hr 37 mins
Informant Media

Our Score: 3.5 out of 5 stars

A young man daydreams in class, staring at the beautiful girl sitting next to him. His thoughts appear on screen. Yes, he is a writer. One day he hopes of achieving the level of his idol, Stephen King. But first he has to write something.

A true ensemble piece, “Stuck In Love” is a well intentioned film that comes across at times more as a novel then a movie. This could be due to the fact that first time writer/director Boone wanted to be a writer. He too has a thing for Stephen King so it’s obvious that the daydreaming young man, Rusty (Nat Wolfe) is his alter ego. Rusty’s father, William (Kinnear) is a successful author and his sister, Samantha (Collins), has just sold her first book. To the same company that publishes King. As Thanksgiving approaches the three begin preparations for their dinner. William sets an extra place for his ex-wife, Erica (Connelly) who left him three years ago and is re-married. William is convinced that she will one day return. Samantha hasn’t spoken with her mother for over a year, fueled by the sadness her father feels. Things aren’t helped by the fact that William will occasionally drop by Erica’s house and peer into the windows. When he sees her fighting with her new husband he’s emboldened, but then quickly deflated as they make up and embrace. Rusty is looking for love, Samantha is dead set on avoiding it. And William is willing to wait for it to return.

A little heavy-handed at times, “Stuck in Love” is saved from the maudlin pile by its stellar cast. Kinnear is quite vulnerable here, a man who lost his will for writing when his wife left. As his children, Wolfe and Collins play well off of each other like water and oil, though they have more in than they may want to admit. Both discover, in their own ways, their first loves, and they are changed by the experiences. As Kate, the object of Rusty’s affection, Liana Liberato is often heartbreaking. Her life hasn’t been easy and it’s hard for her to accept the fact that Rusty loves her for HER, not for the ulterior motives others have in the past. Samantha meets a fellow member of one of her writing classes, Louis (Logan Lerman). He is the opposite of Samantha, or so she thinks. But he eventually finds a way to get under the armor she’s put up around her.

Two subplots throw the film off track. One, concerning Louis’ ill mother, feels like an afterthought and really just a way to get the young couple to connect. Another introduces us to Kristen Bell as a married woman who stops by periodically for some “friends with benefits” action with William. I’m sure if this had been a book these points may have been expounded on but, as they are, they’re really mild interruptions of the main story. Maybe Boone will take the time and publish it some day.

Starring the voices of: Steve Carell, Russell Brand and Kristen Wiig
Directed by: Pierre Coffin and Chris Renaud
Rated: PG
Running time: 1 hr 38 mins
Universal

Our Score: 5 out of 5 stars

I have so many great memories of “Despicable Me” that I was almost frightened to see the sequel, which, in a lot of instances, are not as good as the original. Happily I had nothing to worry about!

Now “retired” and raising his new family, adopted daughters Margo (Miranda Cosgrove), Edith (Dana Gaier) and the always adorable Agnes (Elsie Fisher), the once evil Gru (Carell) is recruited by Lucy (Wiig) an agent from the Anti Villain League, to help defeat a new bad guy, voiced well by Benjamin Bratt, subbing for Al Pacino who left the project a few months ago. Aiding Gru in his new mission are the lovable Minions (Kevin, Bob, Stuart), whose constant good humor and quirky language would put a smile on even the most miserable person’s face. The Minions are truly one of the greatest creations in animation history. That Gru can tell one apart from the other only makes them that much more fun! There are also a group of feral Minions, a purple toned band of misfits as equally entertaining as their counterparts.

Like its predecessor, “Despicable Me 2” is full of little bits for both the kids and adults. Think of it as a modern take on the old “Rocky and Bullwinkle” show, which was known for its blend of humor that entertained all ages. The voice cast is perfect, with Carell leading the way with his somewhere-from Europe accent and Uncle Fester appearance. Wiig gives Lucy a sweet quality that jumps off the screen. And good for Benjamin Bratt, for delivering a complete performance and doing it in only a matter of months. I have no idea why Pacino walked but he missed out on being part of a very special film.

The production values are outstanding, with the animation literally jumping off the film. THIS is what 3D should be. In fact, the 3D that accompanies the end credits is better than all of the 3D I’ve seen in other films this summer put together.

A joyful delight for the whole family, to not see this film could very well be considered Despicable!

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Starring: Johnny Depp, Armie Hammer and William Fichtner
Directed by: Gore Verbinski
Rated: PG-13
Running Time: 149 minutes
Walt Disney Studios

Our Score: 2.5 out of 5 stars

My father grew up watching “The Lone Ranger”. Whether it was Clayton Moore or John Hart donning the bandit style mask, my dad sat in front of the TV watching the 221 televised adventures of “The Lone Ranger”. I even remember my dad trying to bestow upon me the same excitement he had watching it. He didn’t want to just relive the adventures, he wanted me to feel that same spark of joy he once had. It never caught. I grew up on animated shows like “Mighty Max” and was drawn by the bleak world of crime portrayed in “Batman: The Animated Series”. The black and white TV show just didn’t resonate with me. Now that I’m older and understand what my dad was trying to do all those years ago, I was hoping Disney could rejuvenate those feelings once felt by thousands upon thousands of children during the 50’s. Sadly they’ve let me down.

A lone train chugs across the barren desert. Aboard is John Reid (Armie Hammer), a clean shaven man who puts his faith in the law. Farther down in another train cart, chained to the floor is the gritty looking and notorious outlaw, Butch Cavendish (William Fichtner). Next to him is the odd Native American, Tonto (Johnny Depp). These are our three main players. After Butch escapes, John travels into the harsh and unforgiving wild with a group of Texas Rangers to track him down. Butch and his gang of thugs ambush and savagely murder the group. Tonto then comes across the grisly scene of seven bodies lifeless in the dry heat. He digs seven holes to bury the dead, but a white horse stands at John’s resting place. To Tonto, it represents a spirit, telling him that John may have died, but he is alive again and will help Tonto in his journey to rid the land of evil.

I’m not sure how the Lone Ranger is suppose to act or appear, but Armie Hammer has a commanding presence on screen. He’s very likeable as the rugged hero. Fichtner would have been a fantastic villain if there was more exposition, but he still gives off some pretty wicked vibes with his implied taste for human flesh. Seriously. Tonto in the original series was meant to be a spiritual guide, but in this movie the character comes off as the Native American version of Jack Sparrow. It’s easy to compare this movie to the “Pirates of the Caribbean” series because of director Gore Verbinski. If that isn’t enough the writers of “Pirates” (Terry Rossio and Ted Elliot) are tagging along as well. They’re joined by Justin Haythe(“Snitch” and “Revolutionary Road”) who most likely added to the difficulty of updating a classic character.

There are a multitude of times during this movie you can tell these three were struggling to jam their ideas in. This leads to a long and unfocused flick. Concepts are barely fleshed out and some scenes serve no purpose. Instead of completing or simply removing them, every scene is glued to the next by an action set. The action sequences are fun to watch, but they’re not dripping with peril. We’re given plenty of “will he live?” scenarios where we know the outcome is yes. Yes they will live. When we’re finally able to take a breather, we’re treated to a gorgeous landscape and sets that have a fantasy twist on the old west. Vibrant colors cover the rustic feel of towns and businesses. One of my favorite scenes involves our heroes visiting a brothel. Some of the establishing shots are quite breathtaking. Towering rocks chiseled from years of weather and patches of vegetation bravely fighting the coarse sand surrounding it.

Even with it’s meandering, I will admit, the last half hour feels magical. William Tell’s Overture kicks into gear as explosions rock the ground and we’re finally watching the “Lone Ranger” deliver justice. The classical piece by Rossini, made famous during the Lone Ranger’s radio time, stills packs a youthful sense of excitement as gun smoke fills the air. In that moment I realized that somewhere in the early stages of this movie, when all three writers gathered and collaborated, there was a wonderful and enchanting story with memorable characters waiting to capture the wild west imagination. As well as delight the hearts and minds of both young and old viewers. Instead we’re left with a movie that has an identity crisis and expects puns on the classic TV show to cover it’s weaknesses.

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Starring: Sandra Bullock, Melissa McCarthy and Jane Curtain
Directed by: Paul Feig
Rated: R
Running time: 1 hr 57 mins
20th Century Fox

Our Score: 4 out of 5 stars

FBI Special Agent Sarah Ashburn (Bullock) is a strictly by-the-book person. Confident in her talents, her demeanor doesn’t win her friends among her fellow agents. She’s such a loner that her only friend is her cat, Pumpkin. Check that. Pumpkin is her neighbor’s cat. With a promotion in mind she heads to Boston to help track down a drug trafficker. There she finds herself saddled with a partner, Shannon Mullins (McCarthy). She’s one of Boston’s finest though she’s about as popular with her co-workers as Ashburn. She also has popularity problems with her family. Sadly, her brother Jason (Michael Rapaport) is in prison. Even sadder? She put him there!

A high octane comedy with plenty of firepower, “The Heat” is a buddy film you’d expect to see a couple of A-list actors in. And you do. Only this time, instead of Sly and Arnold or Chris and Jackie or Mel and Danny (ok, you’re probably not going to see Mel and Danny together again) you get Sandy and Missy! And both are at the top of their comedy game here.

It’s almost fitting that in this season of tornadoes Hollywood releases a new film with Melissa McCarthy in a starring role. Since she hit it big with her Oscar nominated turn in “Bridesmaids” she has blown through multiplexes like the F-5 in “Twister.” She is truly a force of nature. Here she is given the chance to take no prisoners and she doesn’t disappoint. Bullock is just as good, especially Shannon begins to school her on the ways of the street. Supporting work by Rapaport and Marlon Wayans is solid. Look for Tom Wilson (Biff from “Back to the Future”) as Officer Mullins’ boss. And what a treat it is to see Jane Curtain on the big screen. One of the greatest comediennes of the past three-plus decades, it’s almost as if she’s passing the torch to one of the greatest new comediennes on the scene.

The script is sharply funny, with the contrasting styles (what is this, “Training Day?,” Bullock asks as McCarthy attempts to bond with a drug dealer) of both leads front and center. First time feature screenwriter Katie Dippold honed her talent writing for “MAD-tv” and “Parks and Recreation.” She apparently caught the studio’s eye as “The Heat 2” has already been announced. Sorry gentlemen, looks like it’s time for the ladies to rule!

Starring: Channing Tatum, Jamie Foxx, and Maggie Gyllenhaal
Directed by: Rolland Emmerich
Rated: PG-13
Running Time: 131 minutes
Columbia Pictures

Our Score: 3.5 out of 5 stars

Rolland Emmerich has always been the man behind some of the summer’s biggest and most violent blockbusters. From aliens blowing up world landmarks, Mel Gibson massacring the British and the foaming at the mouth wrath of mother nature, Emmerich has a knack for getting butts in theater seats. He’s now set his sights on destroying and killing every little thing he can get his hands on inside the confines of the President’s home in “White House Down”.

Like any decent action flick, we need the customary character introductions before all hell breaks loose. That’s where we meet President James Sawyer (Jamie Foxx), who idolizes Abraham Lincoln and is hoping to ink one of the biggest Middle East peace deals. Heading up security and Presidential details is Martin Walker (James Woods), who is reaching retirement and seems less than happy with President Sawyer’s foreign policy. We then meet the character that all the women in the audience were gleefully looking forward to, D.C. police officer John Cale (Channing Tatum). He’s a former soldier who’s still trying to put his life together after his divorce. He’s keeping himself busy as security for the speaker of the house, Eli Ralphelson (Richard Jenkins), but this has put a strain on the relationship with his daughter, Emily (Joey King).

But today he’s got a surprise for his daughter, a pass to tour the White House. Which is very low on a lot of preteen girl’s lists, but Emily’s freakish love of politics makes this surprise seem like an early Christmas gift. Before that though, he has an interview for the Presidential secret service. That’s where the audience watches him get turned down and told “You’re just not secret service material”. Of course everyone knows we’re about to spend the next testosterone fueled hour and a half watching John prove his interviewer wrong. The beginning of the movie really dragged its feet trying to establish every single secondary and background character. Trust me, there are way too many to mention in this review. The secondary characters that get the least amount of screen time are actually the most pleasant and fun to watch. Though she’s the most prominent, as secret service agent Carol Finnerty, Maggie Gyllenhaal just kind of occupies the space she’s given. Luckily though, things pick up when a bomb detonates at the Capitol building. As smoke and flames pour out of the Capitol’s dome, a group of paramilitary mercenaries, led by Emil Stenz (Jason Clarke), take over the White House. They systematically go through every room in the place and kill every form of security with deadly precision.

Action movies like this rest on a very thin line. They can be incredibly silly and boring for the audience or they can be a highly entertaining movie that evokes plenty of emotion. Not necessarily tears, but rounds of laughter, applause and cheers. Since it takes place at the White House, there are plenty of light hearted jabs at politicians and pundits. The politics remain right in the middle so that both the red and blue moviegoers can get some laughs in. As an American, it’s more engrossing to watch a movie like this because we’re watching 1600 Pennsylvania Avenue turn from a beacon of national pride to an arcade style shoot em’ up. One of the best action sequences in the film includes the front lawn of the White House becoming host to a death race. The script, by James Vanderbilt, surprisingly keeps the action from being eye rollingly dull and predictable. But he also manages to keep it ridiculous enough to put a smile on theater goers faces, mine being one of them.

I have to admit, Jamie Foxx and Channing Tatum may be one of the more interesting duos to hit the screens in a while. I wouldn’t have suspected it, but the chemistry between the two melds well.. Especially when Jamie Foxx realizes the peaceful commander-in-chief schtick isn’t gonna work and needs to operate a rocket launcher. If you’ve exhausted your other summer movie choices and are looking for a fun, cheesy movie, this is a good filler.

Starring: Gemma Arterton, Saoirse Ronan, Caleb Landry Jones, Jonny Lee Miller and Sam Riley
Directed By: Neil Jordan
Rated: R
Distributed by: StudioCanal
Running Time: 118 minutes

Our Score: 4 out of 5 stars

It’s been nearly twenty years between Neil Jordan’s gorgeous star-filled adaptation of Anne Rice’s Interview with the Vampire and this new bloodsucker story, an interim which has really seen the genre stretched to its limits. It is with great relief then to report that despite having a sixteen year old lead, Byzantium has much more in common with that 1994 classic than Twilight or any of its pretenders. While not quite reaching the sprawling grandeur of Interview, it manages to create its own lore and is worth a watch for its two powerhouse leading women.

The film follows Clara (Gemma Arterton) and Eleanor (Saoirse Ronan), a mother-daughter vampire team who have been eking out a living on the road for the past two centuries. Unable to create a stable home for themselves as they’re chased by a patriarchal secret society, the two women take drastically divergent approaches to handling their bloodlust. Clara, who we meet in a modern strip club, has grown alongside The Oldest Profession—picking off those who, to her mind, “the world would be a more beautiful place” without—while Eleanor takes a more euthanasic approach. The younger one steals into the rooms of the dying and gently sees them off. Their most recent home base here is the titular Byzantium hotel that Clara commandeers from a lonely client of hers (Daniel Mays) for use as a brothel. As the society in pursuit of the women gets closer, we watch in flashbacks their vampiric origins and how they came to cross these men. All the while Eleanor is trying to rebel against mother Clara by sharing their story with others. Clara never lacks company, while Eleanor is in need of actual connection.

The film’s main strength lies in its cast. Saoirse Ronan is perfect as the perpetual sixteen year old. Despite minimal bloodshed, her interactions with her victims are among the most chilling moments in the film. In one standout scene Eleanor is forced to defend her life story to an incredulous creative writing professor when the assignment was for pupils to write something true. You can sense the centuries old fatigue in Ronan’s youthful face as she calmly lays out to this professor why its impossible for her to prove her immortality in this moment, but one day… It’s a performance that may remind you of Ronan’s icy breakout role in Joe Wright’s Atonement, another character who sought to work out her troubled life through writing. Meanwhile, Arterton’s Clara is just as magnetic. Under the cover of her sexual confidence (and a jaw-dropping wardrobe to match) is layered a much more desperate mother who’s still trying to support her child in the only ways she knows how. Only eight years apart in real life, some of Arterton and Ronan’s best scenes feature all-too-human “mother knows best” type arguments which really sell their relationship. Clara means well, but her growing fear of even her two hundred year old baby going off into the world throws her into a frenzy which makes Arterton increasingly scary while remaining sympathetic. The leading ladies are also given excellent support from the likes of Tom Hollander, Caleb Landry Jones, Jonny Lee Miller and Sam Riley. Riley and Miller greatly boost the somewhat slower flashback sequences as soldiers from whom Clara originally stole the route to immortality from in the 1800s. These scenes are gorgeously shot (by Sean Bobbitt of Shame) but tend to linger more than necessary while the modern scenes hold more forward momentum.

Byzantium is also notable for its casual disregard of some of the more famous vampire “rules.” Daylight isn’t preferred but nor is it deadly, everyone casts reflections and so forth. Most strikingly, it’s fangless, opting instead for a growing thumbnail spike that called to my mind the pointed ring that Tom Cruise’s Lestat used in Interview. Such touches keep the traditional horror aspects—and blood loss— to a minimum and shift the focus instead to the relationships of these immortals to each other. That’s not to say the film isn’t without some shocking gore moments—a decapitation in the first five or so minutes will dispel this notion anyway—but that it’s not the primary focus of the film and it really doesn’t need to be. It’s a haunting, visually beautiful film that while slow at times, warrants revisiting this often seen genre.

Starring the voices of: Billy Crystal, John Goodman and Steve Buscemi
Directed by: Dan Scanlon
Rated: G
Running time: 1 hr 50 mins
Walt Disney Pictures

Our Score: 5 out of 5 stars

If you’re a kid over ten you’re certainly familiar with the story of “Monster’s Inc.” Best friends Mike Wazowski (Crystal) and James “Sulley” Sullivan (Goodman) work together to scare human children while they sleep, harvesting their screams to power their home city of Monstropolis. But did you know that, though they are cousins, Mike and Sulley were anything but friends when they were younger. This secret, and others, are revealed when the boys become college men at Monster’s University.

Directed by Dan Scanlon, whose PIXAR association includes stints working on “Cars,” “Brave” and the short film “Mater and the Ghostlights,” “Monster’s University” is a worthy prequel to what is arguably one of PIXAR’s greatest achievements. The story follows Mike and Sulley as they take different paths to what they hope is the same ending. Both want to be “scarers” and Sulley has a leg up because his father was renowned in the field. Big and hairy, Sulley seems to have his future set for him. Smooth and round, not to mention short, Mike knows he has his work cut out for him. While Sulley is recruited by the school’s top fraternities Mike finds himself in the freshmen dorm, rooming with another potential student, one Randy Boggs (Buscemi). After some preliminary scare classes Randy finds himself in a popular fraternity while Mike is left to join the only house that will have him: Oozema Kappa. Here he learns that not every dream has to come true in order to reach your goals.

What made “Monster’s Inc” such a success was the true and genuine bond between Mike and Sulley. As voiced by Crystal and Goodman they were best friends that you know would remain that way forever. Knowing what the future holds for both of them does not distract from the story here. The film lovingly parodies such popular college comedies as “Animal House” and “Revenge of the Nerds.” Crystal and Goodman lead a great vocal cast which includes returning “Monster’s Inc” alum Steve Buscemi. They are joined by Helen Mirren, Sean Hayes, Alfred Molina and Joel Murray. The script, co-written by Scanlon, Daniel Gerson and Robert Baird, is clever without being cute, which is an incredible achievement for a G rated film. And, as always, the visuals are outstanding.

And while I’m speaking of visuals, make sure you get to the theatre early so you can catch an amazing short film called “The Blue Umbrella.”

Starring: Brad Pitt, David Morse and James Badge Dale
Directed by: Marc Forster
Rated: PG 13
Running time: 1 hr 56 mins
Paramount

Our Score: 3.5 out of 5 stars

Out on a drive with his family, Gerry Lane (Pitt) suddenly finds himself in gridlocked traffic. For an unknown reason, not a car in Philadelphia is moving. As he gets out to investigate he is greeted by a series of explosions. When the smoke clears the screams begin.

Carried by Pitt’s performance, “World War Z” is a sometimes intense story of the rise of the undead. Having recently retired from his job as a “fixer” for the United Nations, Gerry is recruited by his old boss (Fana Mokoena) to accompany a novice scientist on a journey to hopefully find a cure for what seems to be ailing the flesh eating monsters that now roam the earth freely. The only clue Gerry is given is a cryptic Japanese email, sent a few days before, which included the word “zombie.” Reluctant to leave his family, Gerry is assured that they will be looked after as long as he’s away. If he doesn’t help, he and his family will be removed from their safe zone and left to fend for themselves. Not much of a choice, is it?

It seemed an odd choice to have the director of “Monster’s Ball” and “Finding Neverland” direct a film about the zombie apocalypse. But director Forster also has the Bond film “Quantum of Silence” on his resume so he also knows his way around an action piece. There are some nice jolts mixed in with humor. There is also an amazing sequence set aboard a plane that will have you gripping the armrests. Like the zombies of Zack Snyder’s remake of “Dawn of the Dead,” these are not the plodding creatures we are used to. These zombies strike quickly, often in groups. When they’re not happy they let out a screech that sounds like an angry chicken. The premise is fine. It’s the presentation that falters. Shown in a very unnecessary 3D, the film is actually hurt by the process. Action scenes are too dark and many foreground objects are blurred when the focus is pulled to capture the action being featured.

Based on a novel by Max Brooks (Mel’s son…go figure), the story moves across the world as Gerry and his team attempt to find a way to beat the zombies. Pitt is strong and determined, yet vulnerable when it comes to his wife and daughters. Mireille Enos (“The Killing”) is equally strong in the face of her family’s separation. Supporting turns by Morse, Dale and Pierfrancesco Favino, among others, keep the film interesting. Technically, I must give a shout out to the more than 100 makeup artists that helped create the various zombies.

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