Ratings based on four-star system.
'Ice Age: Dawn of the Dinosaurs'
Rated PG
2 stars
There are more action and cuddly creatures for kids to love in this third adventure than in the animated franchise's first two installments. For parents, it's more of the same, a "Yawn of the Dinosaurs" adventure with some new faces and places but the same central characters rehashing the themes of the first two movies. The worn-out idea the filmmakers have yet another crack at: Families can be found objects, stitched together from all sorts of misfits who bond to form their own loving little clan. The main thing that distinguishes this movie from its predecessors is the setting as the gang of prehistoric animals journeys underground to a lost world of dinosaurs. Once again, the main players are Manny the woolly mammoth (voiced by Ray Romano), his wife, Ellie (Queen Latifah), Diego the saber-toothed tiger (Denis Leary) and Sid the sloth (John Leguizamo). Sibling possums Crash and Eddie (Seann William Scott and Josh Peck) also tag along again. A new member of this extended family, one-eyed weasel Buck (Simon Pegg) steals the movie with his lively, looney patter and daring antics. But it's strictly a slapstick tale for the young ones.
'Public Enemies'
Rated R
2 1/2 stars
All the pieces would seem to be in place for an epic gangster drama: director Michael Mann, who has an affinity for complicated criminals; stars Johnny Depp and Christian Bale, who are famous for immersing themselves in their roles; and a thrilling true story of brazen bank robbers on the run. Trouble is, "Public Enemies" feels rather stagnant. It looks terrific with its period details and costumes, rich production values and striking high-definition cinematography from frequent Mann collaborator Dante Spinotti. Crisp, blue Midwestern skies pop off the screen and nighttime chases and shootouts have an eerie theatricality about them. But until the final third, the film maintains a low-key, steady pace when it should be percolating with unbearable suspense. Mann follows the string of bank robberies John Dillinger (Depp) and his crew pulled off between his well-orchestrated escape from an Indiana prison in 1933 and his death at the hands of federal agents on the crowded streets of Chicago 14 months later. Mann, who co-wrote the script, romanticizes him rather than presenting a complete picture including whatever wildness or darkness might have existed inside him and driven him. Bale also gets this kind of affectionate treatment as Melvin Purvis, the rising FBI agent charged with bringing Dillinger down.
'The Hurt Locker'
Rated R
3 1/2 stars
Despite their admirable intentions and acclaimed names on both sides of the camera, the vast majority of movies made about the Iraq war have failed to hit the mark. Either they felt too preachy or they were rather standard action pictures. "The Hurt Locker" is by far the most effective film yet on this subject — and what's ironic about that is, it doesn't even feel all that specific to the Iraq war. Its insights and reach extend far beyond what's happened there over the past several years. It's about an elite U.S. Army bomb squad, whose members have 38 days left before they can leave Baghdad in the summer of 2004. They're under enormous pressure to avoid mistakes, because one false move can mean not only their deaths but the deaths of untold numbers of people around them. But they're also under internal pressure to get the job done and get back home. Into this intense situation comes the swaggering Staff Sgt. William James (Jeremy Renner, who earned a Spirit Award for the performance earlier this year). The other members of his team (Anthony Mackie and Brian Geraghty) don't quite know what to make of him; James might be a genius at his job or he might be an egomaniacal show-off. Maybe he's a little bit of both. The script from journalist Mark Boal, who spent time embedded with this kind of bomb squad, presents him as a fascinating but always believable jumble of contradictions. So at its core, "The Hurt Locker" is a character study, but through the eyes of veteran action director Kathryn Bigelow ("Point Break," ''K-19: The Widowmaker"), it also offers an intimate look at gritty, visceral combat.
'My Sister's Keeper'
Rated PG-13
2 1/2 stars
A shameless weepy, one of the most manipulative and fundamental of genres, but it also raises some surprisingly difficult and thought-provoking ethical questions. Based on the Jodi Picoult best-seller, "My Sister's Keeper" focuses on the Fitzgerald family, and the drastic decision they made in medically engineering a child (Abigail Breslin) as a perfect genetic match to help save the life of their older daughter Kate (Sofia Vassilieva), who has leukemia. For years, little Anna provided blood, bone marrow, whatever Kate needed. Now at 11, with her teenage sister needing a kidney, Anna says no for the first time — and beyond that, she files a lawsuit seeking medical emancipation from her parents. Director Nick Cassavetes, who co-wrote the script with Jeremy Leven (writer of Cassavetes' "The Notebook"), traces this conflict through flashbacks from various characters' perspectives: bulldog matriarch Sara (Cameron Diaz), whose priority is preserving Kate's life at all costs; father Brian (Jason Patric), who's patient and supportive no matter what; only son Jesse (Evan Ellingson), who feels lost in the shuffle; and Kate and Anna themselves. Cassavetes tugs at the heartstrings, which has become a trademark in much of his work, providing opportunities to yank out the hankies early and often. But he also wisely refrains from demonizing any of these characters for the choices they make and lets us draw our own conclusions. On the flip side, some family members seem too good to be true.
'Transformers: Revenge of the Fallen'
Rated PG-13
1 1/2 stars
A joyless cacophony, an insistent and seemingly endless onslaught, director Michael Bay's follow-up to the 2007 smash "Transformers" plays like a parody of a Bay movie. You name it, it gets shot up, blown up or otherwise obliterated in a massive fiery ball, from suburban homes and cars to aircraft carriers and even an Egyptian pyramid. Along the way, our sense of sanity and humanity also get destroyed, as we feel as if we are being held captive by these walking, talking, shape-shifting robots — both the good guys and the bad. The Autobots and Decepticons aren't the only ones assaulting us in their epic battle: Regular people are just as obnoxious — probably more so — with their nonstop yammering. Everyone is overcaffeinated in this thing, everyone screams their lines, perhaps so they can hear each other over the explosions and the thunderous score. Who knows, and who cares? It is impossible to become emotionally invested in the Transformers, cool-looking as they are (the work of the venerable Industrial Light & Magic), because it's impossible to tell who's doing what to whom. It's all one messy amalgamation of twisted steel and shattered glass, accompanied by generic crunching and shrieking sounds. What's that, you say? You want to know what the "Transformers" sequel is about? How quaint. Basically, it follows the further adventures of plucky, young Sam Witwicky (Shia LaBeouf, seriously straining his likability), who is yet again stuck in the middle of the eternal fight between the noble Autobots and the evil Decepticons. Megan Fox, Josh Duhamel and Tyrese Gibson return as eye candy, as does John Turturro, who provides a couple of laughs.
'Food, Inc.'
Not rated
3 stars
You put food in your mouth every day. But do you know exactly what you're consuming when you pick up chicken breasts at the grocery store or drive though a fast-food restaurant for a quick cheeseburger? Or do you even bother to care? Probably not, says documentarian Robert Kenner — and you should. Kenner presents an even-tempered but nonetheless horrifying dissection of the U.S. food industry, where corporate-owned, mass-produced and chemically enhanced edibles can be unhealthy at best and deadly at worst. One look inside a cramped, dusty chicken house — where the birds are so puffed up from being stuffed with chemicals, they collapse under the weight of their breasts and die before they can be slaughtered — will make you think twice about how you spend your money at the supermarket. Similar to Al Gore's warnings about climate change in the Oscar-winning "An Inconvenient Truth," Kenner's findings — with significant contributions from authors Eric Schlosser ("Fast Food Nation") and Michael Pollan ("The Omnivore's Dilemma") — produce a cumulative effect that's depressing. But he balances that sense of helplessness with evidence that organic foods are becoming more prevalent, and with suggestions of how individual consumers can affect change through their purchasing decisions.
'The Proposal'
Rated PG-13
2 stars
All the romantic comedy conventions are shamelessly on parade here, trampling on our brains and turning them into mush. They include an uptight character who literally lets her hair down to show she's loosening up, a spontaneous sing-along, wacky relatives, a shocking mid-wedding revelation, a mad dash to the airport and, finally, some very public I-love-yous. Where is the creativity, people? By definition, this is a predictable genre — a guy and a girl who are clearly meant for each other eventually end up together, despite the many madcap obstacles and misunderstandings that come their way. We know the destination before we even park the car at the multiplex; it's how we get there that matters. "The Proposal" seemed to be getting there with some spark and ingenuity, led by a couple of actors with solid comic chops. Sandra Bullock and Ryan Reynolds are both well suited for snappy banter and they play off each other with some nice friction off the top. Bullock has always shown a flair for physical humor, but here she gets a chance to play a scheming, tyrannical book editor, which is a refreshing change from her frequently daffy winsomeness. But Anne Fletcher (who also directed the by-the-numbers "27 Dresses") and screenwriter Peter Chiarelli obliterate any good will they'd generated when "The Proposal" turns gushy and goes precipitously downhill. Bullock stars as Margaret Tate, a Canadian who's on the verge of being deported. She blackmails her put-upon assistant, Andrew (Reynolds), into marrying her to stay in the country. Think they'll fall in love for real? PG-13 for sexual content, nudity and language.
'Whatever Works'
Rated PG-13
2 stars
Woody Allen continues in whatever-works mode, churning out another slight plot with slighter characters and lackadaisical storytelling that recycles enough of the neuroses-fueled charm of his earlier films to keep him in business. Kindred soul Larry David, co-creator of "Seinfeld" and star of "Curb Your Enthusiasm," is Allen's ranting, curmudgeonly stand-in, a suicidal misanthrope who never met a person with whom he couldn't find extreme fault. For his first film back in New York after four shot in Europe, Allen manages his best string of one-line zingers in a long while. He throws in a May-December romance involving a naive Southern runaway (Evan Rachel Wood) and some radical Manhattan transformations for her conservative parents (Patricia Clarkson and Ed Begley Jr.). It's all contrivance, as is the performance from David, who smirks his way through the movie, delivering hearty laughs but never quite capturing the melancholy and self-loathing underlying his character's bluster.
'Year One'
Rated PG-13
1 1/2 stars
Making a solid summer comedy starring Jack Black, Michael Cera, David Cross and Hank Azaria should be so easy, a caveman could do it. Somehow, despite the presence of those reliable actors and the highly advanced skills of comic veterans Harold Ramis and Judd Apatow behind the scenes, "Year One" manages to be a dud. A few amusing moments and ideas pop up here and there, but more often the script feels flat, with a needlessly heavy reliance on scatological gags. (Director Ramis co-wrote it with "The Office" writers Gene Stupnitsky and Lee Eisenberg; he and Apatow are among the producers.) Black's character literally eats feces at one point, while Cera's urinates all over himself — upside down; it could be a metaphor for what everyone is stuck doing in this movie. Black and Cera star as hunter Zed and gatherer Oh, mismatched Neanderthals who are banished from their village after Zed eats some forbidden fruit. Basically this allows Black to be Black (manic, unhinged but always overconfident) and Cera to be Cera (awkward, sarcastic but always sweet). Not much heavy lifting required of either of them. Zed and Oh set off on a road trip that takes them from their primitive land to a series of biblical settings, including encounters with Cain and Abel (Cross and an uncredited Paul Rudd) and Abraham and Isaac (Azaria and Christopher Mintz-Plasse). Ramis seems to be aiming for his own version of the Mel Brooks classic "History of the World: Part 1," but there's nothing terribly memorable about these adventures.
'Imagine That'
Rated PG
2 1/2 stars
The words "Eddie Murphy family comedy" are enough to send shivers down the spine of any self-respecting film lover. Between "Meet Dave," ''The Haunted Mansion" and "Daddy Day Care," he doesn't exactly have the greatest track record with this genre, at least in terms of quality (box-office success can be an entirely different and often baffling phenomenon). Which is what makes "Imagine That" such a pleasant surprise. It's based on a clever premise and it makes good use of Murphy's comic strengths — singing, dancing and creating myriad voices and personalities — without letting him go overboard and get too obnoxious. Its feel-good revelations are predictable, yes, but it only really turns sappy toward the very end. And it offers an irresistible young co-star in newcomer Yara Shahidi, who very much holds her own as Murphy's daughter without being too cutesy or cloying. Murphy stars as Evan Danielson, a Denver-based financial executive who barely has time for his 7-year-old, Olivia. Estranged from his wife (Nicole Ari Parker), Evan is stuck watching Olivia for a few days but has no idea what to do with her, so he ignores her and instead focuses on his computer screens and constant phone calls. But she's paying attention to everything he says and does — and so are the princesses, Olivia's imaginary friends. Somehow, the princesses come up with advice on which stocks daddy should buy and sell — and somehow, they're always right. When Evan gives in and starts following their suggestions, he becomes a superstar at work — and naturally, learns to loosen up at home and have a little fun with his daughter in the process.
'Moon'
Rated R
4 stars
"Moon" does something extraordinary: It seems familiar and derivative, yet upends your expectations about science fiction and surprises you over and over. Melancholy and mesmerizing, equal parts mystery and character drama, it keeps you guessing until the end. The intelligent, assured debut from director Duncan Jones — David Bowie's son, though we won't have to describe him in terms of his famous father for much longer — harkens to the fundamentals of the genre, in which people and provocative ideas mattered more than shiny gadgets and splashy effects. The fact that it's anchored by a subtle yet powerful performance from Sam Rockwell in two separate roles — he's practically the entire cast — is a prime example of this back-to-basics approach. Rockwell stars as Sam Bell, an astronaut in the near future living in a station on the far side of the moon. He's about to wrap up his three-year contract mining helium, the Earth's main energy source, and he's eager to get home to his wife and little girl. One day, amid his daily routine, he starts seeing and hearing things and his health begins to deteriorate. The base's computer, Gerty (voiced by Kevin Spacey), listens and tries to be sympathetic, tries to assuage him. But then Sam sees another version of himself: younger, fitter, more organized and businesslike. The character itself provides much of the film's allure (Nathan Parker wrote the script from Jones' story idea): Is this a clone? Or is the second Sam a figment of his imagination, a product of his isolation? You can interpret it any number of ways. The haunting score from Clint Mansell, longtime collaborator of Darren Aronofsky, adds to the mood and will stay with you afterward.
'The Taking of Pelham¬ 1¬ 2¬ 3'
Rated R
2 stars
The way the original 1974 film's title has been condensed tells you everything you need to know about the direction "The Taking of Pelham¬ 1¬ 2¬ 3" is headed. In these fast-paced, mixed-up times, it simply takes too long to spell out the numbers. Then again, just knowing the director is Tony Scott ("Top Gun," ''Man on Fire," ''Domino") is a major indicator of the changes in store. A low-key, steadily paced thriller about a New York subway hijacking has been amped up with Scott's trademark acrobatics: incessant camera movement, sped-up footage that jarringly cuts to slo-mo, seizure-inducing edits and a blaring soundtrack. Considering that you have heavyweights Denzel Washington and John Travolta squaring off, with a script from Oscar-winner Brian Helgeland ("L.A. Confidential"), you just want to scream at the screen for Scott to settle down and let the exchanges play out for themselves. For the brief moments he does just that, "The Taking of Pelham¬ 1¬ 2¬ 3" can be an engaging battle of wits, despite its preposterous premise. Inspired as the original was by the John Godey novel, "Pelham" stars Travolta in the Robert Shaw role as Ryder, the leader of a group of baddies who take over a downtown 6 train. He demands $10 million in one hour (up from $1 million in '74) or he'll start killing the passengers. Washington (in the Walter Matthau role) plays Walter Garber, the dispatcher on the other end of the microphone who must listen/probe/stall/cajole as a de facto crisis negotiator. While Washington brings his typical grace to this rare regular-guy role, Travolta gets shrieky in a way that recalls his performance in the infamous "Battlefield Earth."
'The Hangover'
Rated R
2 1/2 stars
You'd be forgiven for thinking this is a documentary. After all, who hasn't woken up in a trashed Las Vegas hotel suite with a missing tooth, a tiger in the bathroom, a baby in the closet and little or no memory of what happened the night before? Director Todd Phillips and screenwriters Jon Lucas and Scott Moore take this idea to bold new heights — or depths, depending on your perspective — with a comedy that stays weird and wild for the first two-thirds, only to disappoint in the final act. Structurally, though, it's based on a clever concept: Three guys take their buddy Doug (Justin Bartha) to Vegas for a bachelor party right before his wedding. When they wake up the morning after their debauched bacchanal, they realize the groom is missing — and that's only the beginning of their trouble. As they nurse their pounding heads and retrace their steps, they stumble down an increasingly absurd, and surprisingly dark, path. And because it all turns out to be so unpredictable, we feel like we're solving a mystery right along with them. Bradley Cooper, Ed Helms and Zach Galifianakis make a believably motley trio, with Galifianakis in particular stealing many moments with a performance that's a fascinating balance of creepy and endearing. But Ken Jeong, veteran of many a Judd Apatow production, is stuck in a role that's a distasteful (and unfunny) stereotype of both Asians and gays.
'Land of the Lost'
Rated PG-13
1 star
There is exactly one funny bit here, and it stands out because it comes at the very beginning and the very end. Will Ferrell, as arrogant scientist Dr. Rick Marshall, appears on the "Today" show to discuss his time-travel theories and pimp out his latest book. Matt Lauer, thinking he's a crackpot, interviews him with unmistakabale disdain and chafes at Marshall's attempts to hijack the segment. In between, though, is an awkward combination of kitschy comedy (which is never amusing) and earnest action (which is never thrilling). And it's not as if the source material was worthy of a big-budget summer blockbuster starring an A-lister. The Sid & Marty Krofft TV series "Land of the Lost," about a family that gets sucked into a prehistoric age when an earthquake hits while they're rafting, aired for just three seasons in the mid-1970s. It was laughable with its stiff dialogue and low-tech effects. At least the series knew what it was, though. Working from a script by Chris Henchy and Dennis McNicholas (though Ferrell and co-star Danny McBride clearly did a healthy amount of ad-libbing), director Brad Silberling can't seem to decide whether he's making fun of the show's cheesy visuals or seizing on its sense of rough-hewn adventure. And so in hopes of pleasing the lowest common denominator nonetheless, they offer an overload of jokes about dinosaur poop and urine. Danny McBride and Anna Friel co-star as Will and Holly, with "Saturday Night Live" writer Jorma Taccone as the mischievous primate Chaka.
— Associated Press
