JURASSIC WORLD (2015)

Wanted to wait before reviewing this, as it's such an adrenaline-fueled film; one of those CGI wonders that gets you pumped up while watching it, caught up in the visuals ... but later on, when you think about the film itself, proves to have little substance.  While not as good as the first but better than the sequels, Jurassic World is the story of the never-ending pursuit of more profits, as yet another dinosaur theme park, built on the site of the original, is proving to be big business.  This time though, on-site scientists have created a brand new hybrid of dinosaur - one that, of course, ends up getting loose and causing a chain reaction of panic and problems.  Chris Pratt plays his two-dimensional raptor wrangler as best he can, while Bryce Dallas Howard feels miscast as the hard-boiled park exec whose own nephews become dino-bait.  The film is rousing, the effects good, the story pretty much the same as always - but ultimately it's all style and substance; a "popcorn" movie for the senses, even as it leaves nothing behind for the heart or soul to digest. (rated PG-13)  B-

WHY DON'T YOU PLAY IN HELL? (2013)

Imagine Quentin Tarantino going to an all-you-can-eat sushi bar, over-eating, then crashing into an insane dream ... and you have the film Why Don't You Play in Hell?, a bloody yakuza-thriller-comedy-romance about a Japanese crime boss who wants to make his wife's release from prison (after ten years) special by hiring a movie crew to make a film starring their teen daughter, who got famous as a little girl for a popular toothpaste commercial.  Enter the F*ck Bombers, a group of four gorilla filmmakers whose leader is determined to make his name in film history ... or die trying.  When that same leader gets the idea to film the actual raid of the crime boss and his gang on a rival yakuza gang, things go from nuts to insane, and words can't convey the sheer lunacy of the violent, bloody, off-its-hinges (and often hilarious) mayhem that follows.  While I wish it had a stronger ending, this is a great film, so original and nuts (and SO much fun) you can't help but appreciate it for that alone. (not rated)  A

PAINLESS (2012)

Saw this film on a recommend via one of my favorite horror writers, and while understanding comparisons to films like The Orphanage I felt this one lacked emotional depth.  Going back and forth between two time periods in Catalonia, first we see the effects of a fearful village, before and during the Spanish Civil War, on a small group of young children deemed to be impervious to pain; considered a danger to themselves and others, the children are sent to an old asylum for rehabilitation, though in truth no one knows how to "cure" them.  Meanwhile, in present day, a physician dying of bone cancer needs a marrow transplant, and when he learns his parents aren't really his parents, sets off on a journey to find his biological mother and father.  You can see the ending of Painless long before it comes, and even with the kids' horror story there is just a tonal coldness - a lack of emotional connection - here to make me want to recommend it. (not rated)  C-

STUNG (2015)

Stung is a fun homage to monster movies of the 1950's, where giant mutant ants or rabbits or frogs or whatever were always set on destroying our world.  Here the story revolves around a young caterer named Julia (Jessica Cook), who has taken over her father's business since his death, and her assistant Paul (Matt O'Leary), who drive out to an isolated country estate to cater a yearly garden party for an elderly widow and her creepy son Sydney (a wonderful Clifton Collins Jr.).  As the night goes on, we learn the deceased owner of the property was a guy whose business was pesticides - and that's about when the giant wasps start attacking, not only stinging the guests but using their bodies as hosts to grow more.  Stung is gory, fun, even funny - though I was hoping for "funnier"; had heard the film was sort of comedy-horror, but it takes itself a bit more seriously than that, to the film's detriment.  Still a truly fun, well-done monster movie fans of the genre will enjoy, no doubt; just wish it had pushed a little harder at poking fun at itself! (not rated)  B

THE TRUE COST (2015)

Though documentaries are often not "my thing," when the subject matter is close to my heart (animals, for instance) I can't resist.  What blew me away about The True Cost was how accurate the title was; from turning consumers into materialistic spendaholics, to the low-to-nothing slave wages paid to overseas factory workers living and working in deadly conditions in countries like Cambodia, Indonesia and India, to the environmental impact of genetically-enhanced cotton seeds potentially harming not only those who wear the clothing but also killing those who grow the cotton to make it, this film was a genuine, moving eye-opener to the high human cost paid to bring consumers the lowest clothing prices possible.  Also playing on the industry's constant feeding of the idea that we must buy more to be happier (when the opposite is true), The True Cost was a revelation to me ... and a film every person who likes to shop should see, hoping it will affect change. (rated PG-13)  B+

NORWEGIAN WOOD (2010)

Weeks later, I still don't quite know what to make of Norwegian Wood.  I've never read Haruki Murakami's novel (nor any of that author's work, yet), but watched the film because Death Note was one of the most original and fascinating film I'd seen in years ... and this film starred Ken'ichi Matsuyama, who played "L" in those films, and who is a brilliant, understated actor even here.  This film is well-acted, period, even if not perfectly cast, and the story - set in 1960's Japan - about college student Toru (Matsuyama), who reunites with his friend Naoko years after her boyfriend (also Toru's best friend) Kizuki committed suicide, is a study of how debilitating grief can be, and one man's journey to either let it swallow him ... or find life anew in someone new.  Not the most uplifting topic for a film, but at its weakest Norwegian Wood suffers from a near-total disconnect of its main characters, leaving a stone-cold emotionless tale that, while powerfully told, lacks the power to fully engage.  Disappointing. (not rated)  C

SKIN TRADE (2014)

After New Jersey cop Nick Cassidy (Dolph Lundgren), with the help of the feds and the Bangkok police, captures Serbian gangster/human trafficker Viktor (Ron Perlman) - killing the man's youngest son in the process - Viktor makes bail, promptly disappears, and sends a pair of goons to kill Cassidy's wife and young daughter, sending the devoted cop over the edge to Asia in search of Viktor and revenge.  Soon after his arrival, however, Cassidy is framed for the murder of a Thai cop - the partner of Tony Vitayakul (Tony Jaa), who in turn now hunts Cassidy for that murder, even as both of them try to put a stop to Viktor and his operation.  An okay action film elevated hugely by the presence of Tony Jaa, who after twenty years in the business still commands 100% of your attention on-screen.  Much of the plot we've seen before, but the film does a good job of bringing awareness to the horrific crime of human trafficking, and the cast's commitment to their roles make for an especially tense final battle. (rated R)  B-

PAUL BLART: MALL COP 2 (2015)

It's been six years since mall security guard Paul Blart (Kevin James) saved all those people in the East Orange, NJ mall (including his daughter) - and boy, has his life turned to crap since.  His wife left him after six days of marriage, his mom was run over and killed by a milk truck, and in short it would appear Paul Blart's life has peaked when he gets an invite to attend a security officer's convention in Las Vegas ... where (big surprise!) pretty much the same thing that happened in the first film happens in the second, when a rich patron of the Wynn Hotel (Neal McDonough) and his gang plot to replace and steal all the artwork in the building.  There was a charm to the first Blart film that's totally gone here in the re-hash, with Kevin James little more than annoying in the role.  Raini Rodriguez, Loni Love and a completely under-utilized David Henrie are the true reason to watch this film, but even they and some fun via Geovanni Gopradi as a cop can't save this (overall) unfunny film.  Let's hope Blart retires the badge after this one. (rated PG)  D+

PEYOTE (2013)

Simplicity is the backbone of this short, sweet tale of discovery called Peyote.  Essentially a two-character film, we're first introduced to Mexican teenager Pablo (Joe Diazzi) over breakfast, bored at home and using food to make a monster movie with his handheld video camera.  Heading out later, he finds himself filming at random until a guy in the local park - Marco - catches Pablo secretly recording him.  But instead of anger a friendship is born, and with his parents away for the summer it's easy work for Pablo to be talked into a road trip to the Mexican desert by Marco, in search of naturally-growing peyote for the naive teenager to try; a journey that not only opens the young men's eyes to each other, but also causes each of them to look at himself in a whole new way.  Wonderfully filmed showcasing the beauty of its Mexican landscape, Peyote sneaks up on you with its simplicity ... but in the end proves a profound film about friendship and first crushes, lovingly made. (not rated)  A

CHOCOLATE CITY (2015)

Not having seen the Magic Mike films yet I have no basis for comparison, but to me the acting, choreography and storyline of Chocolate City were all pretty awful.  Robert Ri'chard - whom I've been a fan of since he was a kid actor - stars as Michael McCoy, a "good guy" college student flipping burgers to help his mom and deadbeat brother pay the bills, when he's afforded the opportunity to really help out by working as an exotic dancer.  Ri'chard - still maintaining fresh-faced boyish innocence at age 32 - is the best thing about this otherwise passionless ode to African-American beefcake, in which the choreography of all the male dancers looks the same ... and instead of being "hot" makes you sort of want to bathe after watching it.  Factor in staples like the clueless girlfriend, aging and jealous "on his way out" dancer who hates Michael, NO real nudity to speak of, and a ridiculous ending that throws away all Michael was supposed to have learned from this experience, and what's left is something mostly uninteresting (and at times downright painful) to watch. (rated R)  D-

KING OF COMEDY (1999)

Perhaps some bias in this review, 'cause frankly I just love Stephen Chow.  In front of, behind, or writing for the camera, since Kung Fu Hustle I've known he's brilliant at comedy - and comedy with a heart.  No less here, starring as Hong Kong actor-wannabe Tin-sau, who no matter what he tries cannot seem to get beyond working as an extra for films and TV - most of the time even bungling that up, as he's so technical in his approach he won't even stop being "in character" until the director yells "Cut."  He lives poorly, puts on small productions at the local community center, and teaches acting on the side, his entire life spent in pursing his dream.  When a beautiful bar hostess comes to him for acting lessons, to act more sincere at work and earn more money, a potential romance begins to bloom ... just as Tin-sau, at last, gets what appears to be the break he's been working for.  Funny, warm, sweet, romantic, heartfelt - but who'd expect less from Stephen Chow? (not rated)  A-

A GIRL WALKS HOME ALONE AT NIGHT (2014)

Bad City, a near-ghost town in Iran, has earned its name; the place reeks of poverty and death, its few residents mostly surviving over living.  Arash (Arash Marandi) is a handsome young man living with his drug-addicted father, for whom he has literally given everything; Atti (Mozhan Marno) is a prostitute who has Arash's father as a regular customer, and the old man's drug dealer as a pimp.  And into their lives comes The Girl (a remarkable Sheila Vand), a petite, dark-haired beauty who walks the streets of Bad City at night ... and who happens to be a vampire living quietly in their town.  Director/writer Ana Lily Amirpour has fashioned a terrific, moody, atmospheric film about loneliness and despair that also works as one of the most original vampire movies ever made - shot in black and white, which gives it even more of a grace and beauty found so little these days in the "horror" genre.  Marandi and Marno are terrific, Vand wholly impressive as the lonely, haunting and haunted child of the night who finally finds a friend. (unrated)  A-

THE TECHNICIANS/aka THE CON ARTISTS (2014)

For a heist film featuring some standard trappings of the genre, there's just something charming about this film thanks to its star, model-turned-actor Kim Woo-bin.  This was my first time seeing Kim as an actor; was never a particular fan before, but this movie changed that.  Here he plays Ji-hyeok, a master thief/con artist with a penchant for cracking safes, who along with his buddy (Ko Chang-seok) pulls off one daring heist after another ... until, with the help of a young, untrustworthy hacker (Lee Hyun-woo), they steal thirty million in diamonds from President Jo, who has his own plans for an outlandish robbery and has now found the perfect guys to threaten into pulling it off.  As Ji-hyeok plots their final job and the cops close in, the film - in the last half hour - develops enough twists, double-twists, and surprises to have this viewer freaking out until the end.  Yes, Kim may be his own biggest fan, even here and in character ... but dang it, it works; I loved this film. (not rated)  A-

SUCH GOOD PEOPLE (2014)

Why all the hateful reviews of this film?  While not perfect (the story weakens in act two), Such Good People is an often funny, fun-to-watch caper comedy starring Michael Urie ("Ugly Betty") and Randy Harrison ("Queer as Folk") as gay couple Richard and Alex, who get the chance to live in the home of their dreams - temporarily - when a housesitting gig via a spiritually-enlightened Buddhist couple leaves them in charge of their Silverlake home and a trio of Labradoodles.  But when the couple dies over in Bhutan and the guys find a secret stash of close to a million in cash, they devise a scheme to better their lives that ends with the cops, Alex's greedy half-sister, and a killer in pursuit.  Urie and Harrison have great chemistry here (Randy Harrison, HOW do you only get better-looking with age?), and they're backed by a supporting cast who all seem to be having fun, too (special nod to Forrest Wheeler, Emery of ABC's "Fresh Off the Boat", who with no dialogue adds as much to the film as anyone else).  A pleasant surprise. (not rated)  B

SHAUN THE SHEEP MOVIE (2015)

Though I've never seen the TV series, being a huge fan of Aardman Animations (Chicken Run, all things Wallace & Gromit) made it a no-brainer to watch this charming animated feature about a very smart and rambunctious sheep, whose ingenious plan to have him and his friends take a day off working the farm backfires when their farmer ends up in the Big City with amnesia, and Shaun and his sheep friends - along with the farmer's dog - have to go and rescue him.  For about the first twenty minutes this film felt very much "for kids only" to me - but once things kick in, Shaun the Sheep Movie turns quickly into a funny, sweet, relatable, and very lovable story for all ages, about friendship and banding together and realizing there is, indeed, "no place like home."  Hopefully ewe'll love it as much as I did! (rated PG)  A-

MAD MAX: FURY ROAD (2015)

What a brilliant, intense, gutsy - and yes, deep - movie.  Starting with wall-to-wall action from the first minute, Mad Mad: Fury Road never let's up through its two-hour running time - making, say, Kingsman: The Secret Service (another of my favorite films this year) seem like The Bridges of Madison County by comparison.  Tom Hardy (fast becoming my favorite actor) stars as Max, Charlize Theron (whom I've gained a new liking and mad respect for) fairly owns the film as Furiosa ... and I'd be remiss not to mention yet another brilliant performance by an unrecognizable Nicholas Hoult, as Nux, who adds an emotional texture to the film you don't see coming.  Set in an apocalyptic future where the world's resources are gone and Earth's become a desert wasteland, a tormented Max - still tortured by his past - unwillingly teams with Furiosa, a woman on a mission to get back home and set things right, for the ride of their lives ... if they can outwit and outrun the veritable army led by the one man out to destroy them.  To say any more would risk spoilers, so I'll make it easy: SEE. THIS. FILM. (rated R)  A+

POLTERGEIST (2015)

The Bowen family - Eric (Sam Rockwell), Amy (Rosemarie DeWitt), and their three kids - have just moved into a cookie cutter suburban Chicago home after Eric is laid off from his job.  It's a new (if undesired) start, made worse even before they fully move in when six-year-old Madison starts talking to something unseen and hiding in the closet, and son Griffin experiences some weird happenings in his attic bedroom that go beyond the squirrel Eric finds there.  This update of the 1982 classic employs a box full of evil clown dolls instead of just one, a male psychic investigator instead of the wonderful Zelda Rubinstein - and while you'll recognize many of the same "moments" from the first film, giving you a sense of familiarity, this is a soulless remake that has zero chemistry among the family members (possibly the biggest strength of the original), making you care very little about their plight.  A few nice moments, but they should have left well enough - and Tobe Hooper - alone. (rated PG-13)  D

FISHING NAKED (2015)

David Ottertale (Bronson Pelletier) and his buddy Rodney (Evan Williams) are a pair of free-spirited buddies living in a small mountain community who excel at scaring city tourists off prime fishing locations with a Bigfoot hoax (Rodney usually in the suit).  Their days are spent mostly fishing and hanging out, and at night David brings the fish home to his grandma Louise (Elaine Miles), who has a heart condition and who - it's hinted at - is also slowly being romanced by the town sheriff, Art (Steve Reevis).  The arrival of two townie girls, camping in the woods, sparks the boys' hormones ... but also results in the Bigfoot hoax being taken to the next level, and the next, until the FBI is brought in and Louise finally reveals a real alien being is involved.  Fishing Naked could have been a better film in more skilled directorial hands, but is still a likable comedy, thanks largely to Pelletier's scene-stealing boyish charms and the deadpan delivery of Elaine Miles.  A typical low-budget stoner comedy, elevated by the beautiful Colorado scenery and Miles's and Pelletier's chemistry on-screen. (not rated)  C+

THE WATER DIVINER (2014)

At first glance Russell Crowe's directorial debut, The Water Diviner, isn't the most uplifting of stories.  Set during and several years after the Battle of Gallipoli, the film is about an Australian man, Connor, with an almost mystical knack for finding underwater wells, who along with his wife suffers a blinding loss when all three of his three sons are killed in battle.  Another tragedy four years later, and Connor - determined to keep a promise he made to his wife to have his sons buried at home - travels to Turkey in search of their remains, his process blocked at every turn by the military, a new invasion, and the ongoing tensions of the country itself, still very much in the throes of war.  Crowe turns in an understated, heartfelt performance, and yes the film openly manipulates your heartstrings (with this subject matter, you'd expect less?), but not in a way that feels fake or forced.  Crowe's debut as a director is touching, moving, suspenseful and humane; may he continue to work more behind the camera, as well. (rated R)  B+

CINDERELLA (2015)

Everyone knows the story of the beautiful, kind-hearted Ella (Lily James), forced into servitude when her father dies and leaves her with a cruel stepmother (Cate Blanchett) and pair of selfish, wicked stepsisters ... until a chance meeting with a handsome young man she doesn't know is the prince of the kingdom (Richard Madden) sets her on a magical path to happiness.  The story's been told many times - by Disney itself in its classic animated film - yet this live-action adaptation is a surprisingly emotional, funny and magical retelling that's a joy to watch throughout.  The early scenes with James aren't quite as strong, but that changes upon the arrival of a terrifically-restrained Cate Blanchett, who never goes overboard with her performance ... a treat saved for Helena Bonham Carter as the fairy godmother, who is deliciously giddy in what is one of the best sequences of the film.  Inspiring, suspenseful (yes, even though you know the story), visually stunning, and (thankfully) never too over-the-top, this is one of the best versions of Cinderella you'll ever see. (rated PG)  A-

EX MACHINA (2015)

Caleb (Domhnall Gleeson) is a computer coder in New York for the world's largest internet company, Bluebook, when he wins an inter-company lottery to spend a week with the company's brilliant, reclusive CEO.  Flown by helicopter to a remote area in the Alaskan mountains, he meets Nathan (a brilliant Oscar Isaac) - a guy protective of his secrets who drinks, works out, and has a unique experiment waiting: Caleb will test and interact with the most advanced artificial intelligence ever created.  Her name is Ava, (Alicia Vikander), and her level of humanity is such that Caleb starts to question his own feelings toward her ... and his feelings for Nathan, whom Ava warns is not all he appears to be.  The film is well-done, the effects spectacular, the mind-games it plays on the viewer first-rate - yet, somehow, the tense ending we spend most of the film leading up to just sort of ... happens, with little fanfare and no real surprises.  Mixed on this one. (rated R)  B-

13B (2009)

Even by 2009 you'd think people would have seen enough movies to know and not rent an apartment on any thirteenth floor.  In the Indian horror film 13B, Manu (R. Madhavan) and his brother have socked all their money into renovating and moving into a spacious apartment with their loved ones, which includes their mom, Manu's wife and younger sister, and his brother's family.  Soon after settling in, Manu finds the elevator won't work (but only for him) ... they can't get a single nail into the walls to set up their prayer room (a #1 priority in any Indian household) ... and a new soap opera the women of the house are hooked on has begun on channel 13 at 1pm (1300 hours) every day, featuring characters that not only eerily mirror Manu's family - but also foretell both good and quite awful events Manu soon finds coming true.  A cool premise, but for me the film builds decent suspense (even subtle humor, in spots) throughout, only to leave too many plot holes and questions - and a bit of confusion - leading to a letdown by the end.  Just so-so for me. (not rated)  C

THE DUFF (2015)

Bianca Piper (the likable Mae Whitman) is your average high school girl who pals around with besties Jess (Skyler Samuels) and Casey (Bianca A. Santos) every day, when a chance remark from her lifelong friend and neighbor, football captain (and man-whore) Wes Rush (Robbie Amell, proving he can carry a film as a romantic-comedy lead), makes Biance realize that in terms of school pecking order she is a DUFF - the Designated Ugly Fat Friend guys find approachable when trying to scope out info on her hotter friends.  As Bianca realizes just how true the DUFF phenom is, she spirals out of control herself, ditching her friends and hiring Wes to teach her to be a hottie - leading to embarrassing viral videos, alienation from her entire school, and with no help even from her part-time mom (Allison Janney). Though the second half of The DUFF isn't as strong as its first, a likable cast, terrific soundtrack and the film's sarcastic sense of humor make this fun to watch - though it also (nicely) strives to share a positive message about staying true to yourself. (rated PG-13)  B+

A WEREWOLF BOY (2012)

Elderly grandma Kim Sun-yi, living in the States with family, is summoned back to Korea by a phone call - one that leads her to a small home in the countryside she briefly lived in as a teen - and the bulk of this drama (one of the best, most tragic love stories this reviewer has ever seen) takes place 47 years earlier, when Sun-yi's health brought her and her family to this country home ... and the discovery of a young, feral man living on the property, apparently raised by wolves (or is he one himself?) and long since abandoned, whom the family is forced to take in while local officials try to figure out what to do with him.  This is a beautiful, well-crafted film with just the right touches of comedy, romance and drama; a film that (deservedly) made a star of lead actor Song Joong-ki, who without dialogue brings incredible humanity to Chul-su, and the film itself "rose up the box office charts to become the most successful Korean melodrama of all time".  Have Kleenex ready. (not rated)  A

(NOTE: There is an "extended" version of this film that contains a modified scene, toward the end, that makes this version worth tracking down if you can get it.)

FOCUS (2015)

Nicky (Will Smith) is a first-rate con artist practically from the womb, thanks to a grandfather and father who taught him everything he knows.  Finding humor more than anything else in watching the fledgling thievery of wannabe Jess (Margot Robbie), Nicky is finally talked into taking the young, beautiful woman under his wing, where she soon shows a proclivity for the work, quickly becoming a member of his team.  When they become romantically involved soon after, Nicky decides there's no room for love in the world they inhabit, and promptly leaves her ... only to run into Jess a couple years later, when she becomes a potential stumbling block to what could be the biggest payoff of his illicit career.  Focus is a decent film, though the ending's not as big a deal - twist-wise - as I think the filmmakers would have liked it to be (though for BD Wong's brief appearance in the film alone, the movie is worth seeing).  But essentially this just felt more like Will Smith playing Will Smith, in a film that might have been better with a different lead actor. (rated R)  C

SEVENTH SON (2014)

Master Gregory (Jeff Bridges) is a Spook - a hunter of supernatural evil who decades ago imprisoned the queen of the witches, Mother Malkin (Julianne Moore), in a dark pit.  When Malkin escapes, her powers at their peak during a blood moon, she kills Gregory's apprentice (a wasted Kit Harington), threatening the entire world with darkness, and its up to Master Gregory to find his best possible weapon - the all-powerful seventh son of a seventh son - to finish her off at last.  Enter Tom (Ben Barnes), a farmer from an impoverished family who is taken under Gregory's impatient wing, even as he finds himself falling for the beautiful Alice (Alicia Vikander) - who happens to be Mother Malkin's niece.  Seventh Son is "okay" in terms of story and execution, but suffers from not spending enough time developing its characters (Alice, to me, was just annoying), as well as a performance from Bridges that's virtually a duplicate of his character in The Giver.  Some nice moments, but a disappointment overall. (rated PG-13)  C+

THE SPONGEBOB MOVIE: SPONGE OUT OF WATER (2015)

Combining live-action (an unrecognizable Antonio Banderas as Burger Bob the pirate, who cleverly steals Mr. Krabs secret recipe for Krabcakes and starts the Apocalypse down in Bikini Bottom) and animation (which for the first half of the film feels like nothing more than an extended episode of the TV-series, though things definitely bump up a notch once some of the animated characters go above water and get 3-D), this film - based on the insanely popular show - never comes off as more than a padded episode from the series, with filler added to make it feature film length.  The 3-D animation, once SpongeBob and friends hit land, is beautifully done, with touches of humor and an over-the-top chase scene at the end keeping your interest.  But I couldn't help feeling, especially throughout the first half of the film, as if the writers weren't sure of where to go or what to do, so just stretched things out to fill time - to the point that, by the time all that cool 3-D animation kicked in, the movie had already lost me a bit. (rated PG)  C

STRIPPED (2014)

As someone who drew cartoon characters off TV soon as he was old enough to hold a crayon, I couldn't wait to watch Stripped.  A documentary about the rapid decline of newspapers - and specifically, the comics pages you once found so abundant in them - the film does a great job of succinctly covering the various stages of the comic strip, from its origins to how syndicates worked to the artists who essentially made no money for years until they caught on ... up through how comics were marketed and sold then compared to now, and even to the web comics and graphic novels that seem to be taking over as newspapers seemingly shrink their comic content daily.  Included are interviews with some of the biggest in the business (including first-time-ever voice commentary by Bill Watterson, publicity-shy creator of "Calvin & Hobbes"), and while the film ends on a positive note, I would still have liked it to be a bit longer, going a little more in-depth on both the creative and business side of the cartoonist's life.  Still good, though. (not rated)  B

ACOUSTIC (2010)

Shot in Seoul and featuring members of popular K-pop groups 2AM and CN Blue, Acoustic is a short, sweet collection of comedic and romantic stories, loosely tied together by film's end, about life and music and how the two can be so completely intertwined.  Whether the story of a girl with a terminal illness who is trying to finish writing her song before she dies ... a musician forced to sell his guitar online, due to money problems, whose dork friend bungles the sale by losing the guitar ... to a tale set in the future where the government has full control of what feels like a constant police state, and music is a thing of the past ... Acoustic benefits greatly from earnest performances via its attractive young cast, who can make you laugh one minute with comedy that rings true, yet manage to pull off the dramatic moments (while reigning it in before it hits melodrama) the next.  Sweet film ... and loved the music, too! (not rated)  B+

THE AGGRESSIVES (2005)

Cheon Jeong-Myeong (star of the South Korean version of Hansel & Gretel and with one of the most open, expressive faces in film) stars in The Aggressives as So-yo, a teen abandoned by his parents when they're forced to leave South Korea to evade criminal prosecution (it's never made 100% clear why).  Alone and bored and with an interest in (and mild talent for) in-line skating, So-yo finds a new group of friends in the sport, and not only develops his skills but also forges a bond with the leader of the pack, Moggy (Kim Kang-woo), who along with his buddy that formed the group of skates is having trouble coming to terms with the fact he's getting old enough to put this "hobby" behind if he's to face the real, adult world.  Part personal journey, part coming-of-age story, part sports tale, The Aggressives - while not the perfect film - is a strong, well-acted, touching story of friendship ... and of the difficulty inherent in letting go of a dream that may never see reality. (not rated)  B

CHAPPiE (2014)

District 9 - loved it.  Elysium - liked it.  But Neill Blomkamp's newest, Chappie, is the best of the trio - his most energizing, emotionally-involving and funniest film yet, featuring a virtuoso performance by Sharlto Copley (never seen on-screen, as he voices the title character).  Set in a near-future Johannesburg overrun with crime, Chappie opens looking like a vintage Mad Max film but plays out at first like RoboCop, via tech genius Deon Wilson (Dev Patel) who's created programming leading to an army of robotic cops that are taking a huge bite out of crime at last.  Deon's co-worker, ex-soldier Vincent (Hugh Jackman), is shut out with his older crime-stopping creation at the company, but when Deon is kidnapped and forced to put his new artificial intelligence program into the half-destroyed body of a former robot cop, the remarkably childlike and human Chappie is "born" ... and Vincent is out for blood.  Chappie is a marvelous, funny, very moving portrait of humanity, as seen through the eyes of one just learning how to be human.  Truly wonderful. (rated R)  A

KINGSMAN: THE SECRET SERVICE (2014)

Imagine the coolest James Bond film.  Then imagine it as directed by Quentin Tarantino, with graphic violence and tons of dark humor ... and you have the hybrid gem that is Kingsman: The Secret Service, starring Colin Firth as Harry Hart, a gentleman spy in England who - to repay a debt to the man who saved his life a decade ago by sacrificing his own - enlists the man's now-grown son Eggsy (Taron Egerton) as his protege in the Kingsman agency.  Just in time, too; as Eggsy and his fellow recruits begin training, tech giant Richmond Valentine (Samuel L. Jackson) puts into action a plot to take over the world with a shocking plan that will "solve" the global warming crisis for good.   Directed by Kick-Ass helmer Matthew Vaughn and with an incredible ensemble cast, Kingsman: The Secret Service is brilliant, violent, funny, completely bonkers ... and I loved every minute of it.  The church scene alone will have your jaw dropping open about a foot. (rated R)  A

BALLET 422 (2014)

Ballet 422 is a documentary about one of the most prestigious dance companies in the world, the New York City Ballet - and in particular the efforts of Justin Peck, dancing with the company as one of fifty members of  the corps de ballet for seven years, to choreograph and stage the company's 422nd original ballet ... in just two months.  From day one of rehearsal to opening night, the film is very much an interesting progression of watching the performance come together, and the is never boring - but at only 75 minutes and with no insights into Peck's mind, thought processes or insecurities via voice-over narration or interviews (ditto for the company members), the film lacks a strong emotional or dramatic core that would have given it more depth than a simple narration of events.  A good behind-the-scenes view of putting a ballet together, for lovers of ballet or not; just could have been better, resonating more with viewers emotionally, if we could have seen into the hearts of Justin and/or the dancers. (rated PG)  B-

PROJECT ALMANAC (2014)

Have loved time travel films since watching Rod Taylor in The Time Machine as a kid.  Even as the credits started rolling for Project Almanac and I saw "MTV Films", I still had high hopes.  David Raskin (Jonny Weston) is a science geek in suburban Atlanta whose biggest dream is to get into MIT.  He's over the moon when he makes it but then learns $40K of the tuition isn't covered by scholarship, and in his efforts to find a way to raise more money comes across a videotape of his seventh birthday party (the day his father died) ... where he spots a glimpse of his adult self in a mirror.  He and his friends discover his father had started working on a time machine, which they complete, and though at first things are great eventually bad choices lead to disaster (big surprise).  The shaky-cam "found footage" stuff here is bad enough, some viewers will likely be made sick watching, and while a good effort the ending is flat and co-producer Michael Bay certainly leaves his mark with cool special effects and set pieces over developing characters we care about. (rated PG-13)  C+

THE WAY HE LOOKS (2014)

Sometimes a film comes along that reminds you how simply an effective, beautiful story can be told on-screen; such is the case with The Way He Looks, about Brazilian high school teenager Leonardo (played to perfection by Ghilherme Lobo), blind from birth, who mostly spends his days hanging out with his bestie Giovana and trying to prove to his overprotective parents that he's old enough to start being more independent.  Then a new student - Gabriel - arrives at school, changing the dynamics of Leo's and Gia's friendship as the duo becomes a trio ... and Leo's feelings for Gabriel grow beyond those of friendship.  The film's beauty lies in the way it honestly, poignantly depicts the pangs of first love, your first crush, and how those feelings of both melancholy and innocent bliss are universal to us all, regardless of gender or sexual orientation.  A great with and cast, with particular kudos to Ghilherme Lobo, who brings such depth and heart to Leo; so much so, I couldn't believe it when I learned he was a sighted actor in real life. (not rated)  A