Go for Launch Animation Studios creative director Philip A. Cruden and associate producer Lorraine Cruden speak with “Breakthrough Entertainment” about their new animated adventure “The Hero of Color City,” in which a diverse band of crayons strive to protect not only their magical multihued homeland but the imagination of children everywhere from a terrifying monster.

Among the new movies that were released Friday, Oct. 3 are a thriller about the search for a missing woman, a drama about Sudanese refugees who resettle in America and a thriller about a woman who uncovers an unsettling secret about her husband.

‘Drive Hard’

Thomas Jane plays a former racecar driver who traded the winner’s circle for a 9-to-5 job as a beginners’ driving instructor. But his life shifts into overdrive when a thief (John Cusack) hijacks him to be his getaway driver in a $9 million heist. (NR – 96 minutes)

The least that a movie called “Drive Hard” could do is feature thrilling car chases. But perhaps even that is too much to ask for as the new actioner’s stunts look less like “Fast and Furious” than they do “Driving Miss Daisy.” And without the novelty of excitement to distract us, the story’s silliness becomes a bit overwhelming – as do a plethora of technical imperfections. John Cusack is always amusing – especially when he’s playing a bad guy – so there is at least some entertainment value to this flick, but even he cannot salvage this wreck. (Thumbs Down!)

‘Gone Girl’

Ben Affleck plays a man who, with his wife’s disappearance having become the focus of an intense media circus, sees the spotlight turned on him when it is suspected that he may not be innocent. (R – 145 minutes)

“Gone Girl” is one of the most incredibly involving thrillers of the year, taking viewers on one hell of a ride – especially those who are unfamiliar with Gillian Flynn’s novel on which the film is based. And unaware is precisely the way to best experience director David Fincher’s new mysterious masterpiece that is certain to unsettle and maybe even make the world a more cynical place when it comes to relationships. Even though the ending is somewhat dissatisfying, the jaw-droppingly gripping journey there will linger with you long after the credits have rolled. (Thumbs Up!)

‘The Good Lie’

Reese Witherspoon plays an employment agency counselor whose encounter with a pair of Sudanese refugees given the chance to resettle in America forever changes all of their lives. (PG-13 – 92 minutes)

“The Good Lie” is the epitome of a feel-good flick, filling viewers with remarkable warmth and an overwhelming urge to do something positive for their fellow man. Having said that, those expecting the new drama to be Reese Witherspoon’s answer to Sandra Bullock’s Academy Award-winning role in “The Blind Side” may be sorely disappointed as the actress is more or less a big-name place-holder – a star whose popularity the movie can hitch onto. This, along with the fact that the film struggles to find meaningful filler between two primary plot points, prevent the motion picture from reaching its full potential, but its heart is in the right place – and it helps yours get there, too. (Thumbs Up!)

‘A Good Marriage’

Joan Allen plays a faithful wife who, when her husband (Anthony LaPaglia) departs for a business trip, unearths evidence that exposes his monstrous true nature. (R – 100 minutes)

“A Good Marriage” is a considerably disquieting thriller. Director Peter Askin’s new movie based on a short story written by master of horror Stephen King will send a shiver down the spine of its viewers as they contemplate how they would react under such unsettling circumstances. Granted, the story is littered with improbable plot points but none are too troubling. Anthony LaPaglia plays creepy impeccably well while Joan Allen effortlessly evokes the whirlwind of emotions – from disbelief to fear to outrage – that her character requires. The motion picture is certain to plant seeds of doubt in even your most intimate relationship. (Thumbs Up!)

‘The Joe Show’

Filmmaker Randy Murrray chronicles America’s most controversial sheriff – Joe Arpaio – and his ringmaster’s approach to modern media, politics and law enforcement. (NR – 105 minutes)

“The Joe Show” may be one of the most entertaining documentaries that you ever see. What at first appears to be a celebration of Maricopa County Sheriff Joe Arpaio that is almost certain to leave a bad taste in the mouth of most moviegoers eventually morphs into a piercing exposé that will leave said moviegoers in stitches. Granted, it is sure to ruffle a few feathers as well – just as any good documentary should do – but the overwhelming reaction will be one of absolute amusement (not to mention amazement as to how this man manages to keep getting re-elected). (Thumbs Up!)

Actor/musician Alan Powell speaks with “Breakthrough Entertainment” about his role in the new faith-based drama “The Song,” in which he plays an aspiring singer-songwriter whose life and marriage suffer when the song he writes for his wife (Ali Faulkner) propels him to stardom.

Actor Max Adler speaks with “Breakthrough Entertainment” about his role in the new faith-based comedy “Believe Me,” in which he, Alex Russell, Miles Fisher and Sinqua Walls play college seniors who – desperate, broke and out of ideas – start a fake charity to embezzle money for tuition.

Comedian Bill Maher speaks with “Breakthrough Entertainment” about his upcoming live show at Comerica Theatre.

Among the new movies that were released Friday, Sept. 26 are a comedy that takes on Christianity, a big-screen reboot of an 80’s television series and a modern-day interpretation of “The Song of Solomon.”

‘Believe Me’

Alex Russell, Miles Fisher, Sinqua Walls and Max Adler play college seniors who – desperate, broke and out of ideas – start a fake charity to embezzle money for tuition. (NR – 93 minutes)

“Believe Me” is a remarkable rarity – a Christian-themed film that does not hit viewers’ over their heads with a message yet manages to naturally relay a great deal of spiritual significance through its story. As a result, the new comedy not only genuinely encourages introspection among its audience but also generates a lot of laughs along the way. More importantly, the biggest laughs and deepest reflection will be experienced by those who would ordinarily be unresponsive to religious themes thanks to its uniquely self-satirical approach. The film’s only flaw is its perplexingly open-ended conclusion. (Thumbs Up!)

Breakthrough Interviews: Actor Max Adler (‘Believe Me’)

‘Bird People’

Josh Charles plays a Silicon Valley engineer who abruptly chucks his job, breaks things off with his wife and holes up in his room at an airport hotel on the outskirts of Paris. Soon, fate draws him and a young French maid (Anaïs Demoustier) together. (NR – 128 minutes)

“Bird People” spends an awful lot of time flapping its wings without ever truly taking flight. The new drama is excruciatingly dull from beginning to end and appears to be more concerned with creating a masterpiece of metaphor than it is with entertaining moviegoers. Star Josh Charles gives an appealing performance but the story is too slow to keep audiences engaged – especially when symbolism is frequently flying over everyone’s heads when it is not hitting them smack-dab in the face. There is probably a very powerful poem hiding somewhere in this screenplay but as a motion picture its about a light as a feather. (Thumbs Down!)

‘The Equalizer’

Denzel Washington plays a man who believes he has put his mysterious past behind him and dedicated himself to beginning a new, quiet life. But when he meets a young girl (Chloë Grace Moretz) under the control of ultra-violent Russian gangsters, he comes out of his self-imposed retirement and finds his desire for justice reawakened. (R – 132 minutes)

Somehow, “The Equalizer” manages to be both sluggish and rushed at the same time. Watching the film feels almost like skimming through an entire season of a television series, stopping on not just the action-packed parts but also the inevitable time-filler and skipping some significant scenes. That reaction may not be all that surprising, though, as the new crime thriller is a big-screen reboot of an 80’s television series by the same title. Having said that, it is undeniably compelling with undiluted violence that will sear your senses into submission, proving for the second time that King Kong ain’t got nothin’ on an Antoine Fuqua/Denzel Washington team-up. (Thumbs Up!)

‘Good People’

James Franco and Kate Hudson play a couple that discovers a cache of cash in their dead tenant’s apartment and takes the money to pay off their debts only to find themselves the target of a deadly adversary – the thief who stole it in the first place. (R – 100 minutes)

It really is a shame that “Good People” is not a better movie. After all, the new thriller has got not only two strong leads in James Franco and Kate Hudson but also a thought-provoking theme about the things that we might do just to survive through our struggles. It has got one hell of nerve-racking, nearly dialogue-free finale, too. Unfortunately, the scenes that lead up to it are thoroughly lethargic, consisting of a series of whispered conversations in low-lit settings, thereby making it difficult to remain interested and engaged while reducing the potency of its theme. (Thumbs Down!)

‘Jack and the Cuckoo-Clock Heart’

A young man whose heart was replaced with a clock when he was born must avoid feeling strong emotions – especially love – but he struggles to keep his feelings under wraps. (PG – 102 minutes)

“Jack and the Cuckoo-Clock Heart” is a whimsically imaginative animated adventure. However, there are probably very few people to which the motion picture will appeal. It is far too dark and dreary for children while its Attention Deficit Hyperactivity Disorder-like style will be a bit too chaotic for adults. Moreover, while its musical themes are kind of catchy, the lyrics will soar straight over most American audience members’ heads. It is a conundrum as to whom this movie was made for. Either the children in its country of origin France are refined goths or the adults drink way too much coffee. (Thumbs Down!)

Breakthrough Interviews: Producer Virginie Besson-Silla (‘Jack and the Cuckoo-Clock Heart’)

‘Kelly and Cal’

Juliette Lewis plays a punk-rocker turned suburban mom who is nostalgic for the life she no longer has and uncertain of a future where she does not yet fit in. Jonny Weston plays a teenager who is frustrated at his lack of control over the hand he has been dealt. When the two neighbors meet, they find in each other an unlikely but much-needed connection to the world. (NR – 107 minutes)

It is unsettling to see how the relationship between a middle-aged suburban mom and a handicapped teenager is viewed as a therapeutic thing in “Kelly and Cal.” Granted, it is a mostly innocent-although-unlikely friendship and Juliette Lewis’s character does not escape unscathed for her failure to be the responsible adult, but it would be an entirely different story if the sexes were switched. Although the dynamic between the two title characters’ circumstances is moderately intriguing and Lewis gives a great performance, the plot is particularly uneventful and therefore also prosaic. (Thumbs Down!)

‘Plastic’

Ed Speleers plays a young man who leads a ring of recruited university students to become credit card thieves to supplement their income. However, when they inadvertently rob a notorious gangster (Thomas Kretschmann), they are then forced to up their game and take their scam on the road to Miami – the city of “high stakes” – to pay off their debt. (R – 102 minutes)

“Plastic” is promising but plagued with a plethora of problems that make it not only bad but actually annoying. First and foremost, the new crime actioner disappointingly contradicts its title and abandons its compelling credit card angle in exchange for a far more blunt – and boring – jewelry heist. Its characters are also much more cardboard in nature while its action sequences are mind-numbingly messy and noisy, stealing all potential for suspense. Star Emma Rigby is nice to look at but do not allow her beauty to con you into seeing this nonsense that gets worse with each passing minute. (Thumbs Down!)

‘The Song’

Alan Powell plays an aspiring singer-songwriter whose life and marriage suffer when the song he writes for his wife (Ali Faulkner) propels him to stardom. (PG-13 – 112 minutes)

“The Song” tells a simple story with miraculous beauty. Inspired by “The Song of Solomon,” the new faith-based flick certainly possesses several spiritual themes that elevate its significance for Christian viewers. But by no means should that drive away the general moviegoing population as love is the heart and soul of this remarkable romantic drama with a sensational soundtrack. Alan Powell and Ali Faulkner give truly powerful performances that evoke a whirlwind of emotions among audience members – many of whom will not walk out with dry eyes and all of whom will be genuinely moved to profound internal reflection. (Breakthrough!)

Breakthrough Interviews: Actor/Musician Alan Powell (‘The Song’)

‘Tracks’

Mia Wasikowska portrays a young woman who leaves her life in the city to make a solo trek through almost 2,000 miles of sprawling Australian desert. Accompanied by only her dog and four unpredictable camels, she sets off on a life-changing journey of self-discovery. (PG-13 – 110 minutes)

“Tracks” – which is based on a true story – never really makes it explicitly clear as to why star Mia Wasikowska’s character decides to embark on a 2,000-mile solo trek across Australia. As a result, the viewer is never fully invested in her journey nor inspired by her insistence to complete it. However, the part of us that is cognant of the fact that sitting in the movie theater does not really constitute living life to the fullest appreciates her sense of adventure. Moreover, Mandy Walker’s transportive cinematography alone is reason enough to accompany Wasikowska’s character – as is the quartet of cute camels. (Thumbs Up!)

‘The Zero Theorem’

Christoph Waltz plays a computer hacker whose goal is to discover the reason for human existence. However, he continually finds his work interrupted thanks to management’s distractions – namely, a teenager (Lucas Hedges) and lusty love interest (Mélanie Thierry). (R – 107 minutes)

“The Zero Theorem” is philosophical foolishness. Maybe this motion picture makes sense to some people – primarily director Terry Gilliam – but most moviegoers’ eyes will glaze over while sitting through this mess of sci-fi mumbo jumbo. Granted, it looks good as Gilliam’s imagination is a veraciously visceral playground. But the story is simply too bizarre to sustain one’s interest – much less effectively follow all the way to its conclusion which, by the way, does not increase the clarity even one bit. Star Christoph Waltz is captivating, as usual, and co-star Mélanie Thierry is excellent eye-candy but, beyond that, it is a sloppy waste of creativity. (Thumbs Down!)

Writer/director Tom Dolby speaks with “Breakthrough Entertainment” about his new dramedy “Last Weekend,” in which Patricia Clarkson plays a matriarch who asks her adult sons to visit their gorgeous Lake Tahoe home for a final weekend before she sells it. However, it quickly becomes a comical disaster.

Producer Virginie Besson-Silla speaks with “Breakthrough Entertainment” about Europacorp’s new animated musical “Jack and the Cuckoo-Clock Heart,” in which a young man whose heart was replaced with a clock when he was born must avoid feeling strong emotions – especially love – but he struggles to keep his feelings under wraps.

Coinciding with the release of the new dramedy “This is Where I Leave You,” certified counselor Erica Spiegelman speaks with “Breakthrough Entertainment” about bereavement and family dysfunction.

Among the new movies that were released Friday, Sept. 19 are a nearly silent thriller and a pair of dramedies in which family members reunite at their childhood home.

‘Autumn Blood’

Sophie Lowe plays a self-sufficient young girl who, frightened of being separated from her younger brother by child services following her mother’s death, strives to live off the land in peace. When she is assaulted by a group of hunters led by the son of the man who killed her father, she prepares to take a stand against the ruthless attackers. (R – 100 minutes)

“Autumn Blood” is an astonishingly chilling thriller. Its shivers are made even more soul-penetrating by the fact that it features only a few words of dialogue. Director Markus Blunder, who also co-wrote the screenplay, instead decides to let the movie’s magnificent imagery do the talking. Be it the talented actors’ emphatic facial expressions or the picturesque setting so sublimely captured by cinematographer Reed Morano, this immensely visual experience will magnetize you to the edge of your seat and steal your breath away. It is the rare motion picture that is as poetic as it is enthralling. (Thumbs Up!)

‘God Help the Girl’

Emily Browning plays a young woman who begins writing songs as a way to sort through some emotional problems and meets two other musicians (Olly Alexander and Hannah Murray) each at crossroads of their own. (NR – 111 minutes)

There are a couple of catchy tunes in the new musical drama “God Help the Girl” but the best one on its soundtrack – the one featured in the film’s trailer not to mention being the one from which the motion picture takes its title – is relegated to a momentary melody. However, that may be the least troublesome part of Belle and Sebastian musician Stuart Murdoch’s directorial debut as the flick frequently meanders into trivial territory – especially when its characters are not singing, which is actually more of a distraction from an otherwise dull experience than something that sincerely serves the story. (Thumbs Down!)

‘Last Weekend’

Patricia Clarkson plays a matriarch who asks her adult sons to visit their gorgeous Lake Tahoe home for a final weekend before she sells it. However, it quickly becomes a comical disaster. (NR – 94 minutes)

Star Patricia Clarkson gives an inspired performance in “Last Weekend,” a dramedy that shrewdly tackles the topic of how we are forced to change identities several times over the course of our lives. It is extremely easy to identify with the film’s characters – none more so than Clarkson’s matriarch who, brilliantly delivering writer/co-director Tom Dolby’s poetic dialogue, transitions from a hilariously abrasive nag into a sympathetic empty nester. Dolby humanizes each of the other characters as well, thereby encouraging us to exercise empathy during our next family gathering and making this the perfect prerequisite to Labor Day weekend, Thanksgiving or what have you. (Thumbs Up!)

Breakthrough Interviews: Writer/Director Tom Dolby (‘Last Weekend’)

‘My Old Lady’

Kevin Kline plays a down-on-his-luck New Yorker who inherits a Parisian apartment from his estranged father but is shocked to discover a live-in tenant (Maggie Smith) who is not prepared to budge. Kristin Scott Thomas also stars. (PG-13 – 107 minutes)

“My Old Lady” is a quietly but quickly captivating dramedy. Adapting his own stage play, writer/director Israel Horovitz has crafted a film that fully utilizes the strengths of its stars – none more so that Kevin Kline, whose character is both charismatically funny and endearingly identifiable. The actor effortlessly brings Horowitz’s cleverly nuanced dialogue to life while simultaneously extracting sympathy for Kristin Scott Thomas’s character, who is not exactly immediately likeable. Maggie Smith, too, shines in a role that essentially acts as the spiritual center of the story, which reminds us to exercise a little empathy during life for there are certain to be situations that we may not accurately understand. (Thumbs Up!)

‘This is Where I Leave You’

Jason Bateman, Tina Fey, Adam Driver and Corey Stoll play four grown siblings who, when their father passes away, are forced to return to their childhood home and live under the same roof together for a week along with their over-sharing mother and an assortment of spouses, exes and might-have-beens. (R – 103 minutes)

“This is Where I Leave You” feels very familiar. Granted, part of that familiarity is undoubtedly a direct result of the new dramedy’s remarkable resemblance to other films set around funeral-induced reunions like last year’s “August, Osage County” and more notably “The Big Chill.” However, it also comes from its likeable characters (especially the one played by Timothy Olyphant) and their universally empathetic situations. Although any resonance is artificial and therefore short-lived, the entire experience is entertaining and emotionally satisfying enough to make spending time with the dysfunctional Altman family a fun substitute for your own. (Thumbs Up!)

Actress Christie Laing speaks with “Breakthrough Entertainment” about her role as Maid Marian on the upcoming fourth season of ABC’s hit fantasy series “Once Upon a Time.”

Dancer Sharna Burgess speaks with “Breakthrough Entertainment” about the upcoming 19th season of ABC’s hit reality show “Dancing with the Stars.”

Actor Matthew Cardarople speaks with “Breakthrough Entertainment” about his role in ABC’s new sitcom “Selfie,” in which he plays the assistant to John Cho’s character – a marketing expert whose help is enlisted by a self-involved 20-something (Karen Gillan) after being the subject of an embarrassing viral video to revamp her image in the real world.

Among the new movies that were released Friday, Sept. 12 are a horror flick starring Peter Facinelli, a crime drama starring Tom Hardy and a prison thriller starring Jack O’Connell.

‘The Damned’

Peter Facinelli plays a man whose family is involved in an accident and takes refuge in a secluded inn where they free a girl locked in a basement without knowing she is an ancient evil. (R – 82 minutes)

If it were all about atmosphere, “The Damned” would be on fire. After all, the new supernatural thriller starts strong with a spectacularly scary setting – a decrepit inn on a really rainy night. However, as effectively eerie as that setting is, it evokes visions of other horror flicks – most notably last year’s “Evil Dead” remake. And once the predictably played-out game of “Ten Little Indians” begins, one realizes that they may as well give up on seeing any surprises. Still, it is entertaining enough and its intriguing twist keeps it from being washed away too quickly by the flood of other similar scare-fests in your memory. (Thumbs Down!)

‘The Drop’

Tom Hardy plays a man who finds himself at the center of a robbery gone awry and entwined in an investigation that digs deep into the neighborhood’s past where friends, families and foes all work together to make a living – no matter the cost. (R – 106 minutes)

Being based on a short story authored by screenwriter Dennis Lehane – whose works were previously adapted into the remarkable “Mystic River” and “Gone Baby Gone” – the new crime drama “The Drop” has a high bar to pass over. Factor in that the film features late actor James Gandolfini’s final performance and there is a lot riding on it being an exceptional effort. Unfortunately, it is not and it falls far below that aforementioned bar with a story that is slow, understated and kind of confusing in a way that seems as though production was never completed and therefore some integral scenes are M.I.A. (Thumbs Down!)

‘Fort McCoy’

Eric Stolz plays a man who, during WWII, must take a stand when a Nazi SS Officer threatens his wife (Kate Connor) while his sister-in-law (Lyndsy Fonseca) falls for a Jewish soldier (Andy Hirsch) haunted by the battle of Monte Cassino and the death of his best friend (Matthew Lawrence). (R – 101 minutes)

“Fort McCoy” is a movie that probably should have been a television series – at least the way that it is presented by writer/co-director Kate Connor (who also not only stars in the film but is the real-life granddaughter of the character she plays). The new historical drama, although authentic in atmosphere, features far too many subplots for one motion picture – all of which are more melodramatic and less interesting than the underlying story of a family living so close to an enigmatic enemy. Having said that, the few times it touches on that theme, it excels in both significance and suspense. (Thumbs Down!)

‘Starred Up’

Jack O’Connell plays a troubled and explosively violent teenager who is transferred to an adult prison where he finally meets his match – a man who also happens to be his father. (NR – 106 minutes)

“Starred Up” is gritty, violent and raw – three qualities that make it an accurate reflection of the reality of life behind bars. But that is not what makes the movie difficult to watch. Instead, that honor goes to the slang-ridden accents, which are thicker than the walls of its prison setting. The frequently indecipherable dialogue is a shame, too, because the flick is quite compelling – at least it appears to be based on what little this film commentator could tell from the stirring scenes during which star Jack O’Connell (with a commanding performance) silently adapts to his savage surroundings. (Thumbs Sideways!)

“Elvis” Wade Cummins speaks with “Breakthrough Entertainment” about the new faith-based musical drama partially inspired by his life “The Identical,” in which Blake Rayne plays identical twin brothers who are separated at birth during the Great Depression. Despite their very different upbringings, the boys’ shared passion for music causes their lives to unknowingly intersect as they experience a powerful and mysterious connection.

Writer/director Michael Berry speaks with “Breakthrough Entertainment” about his new drama “Frontera,” in which Ed Harris plays a former Arizona sheriff whose wife is killed while riding on their ranch property. It would appear that a Mexican man (Michael Pena) illegally crossing into the US is at fault. As the former and the current sheriff search for answers, lives are changed forever.

Actor Bryan Dechart speaks with “Breakthrough Entertainment” about his role in the new faith-based thriller “The Remaining,” in which he, Alexa Vega, Johnny Pacar, Shaun Sipos and Italia Ricci play a group of friends who gather for a wedding only to find the celebration shattered by a series of cataclysmic events and enemies foretold by biblical end-times prophecies.

Among the new movies that were released Friday, Sept. 5 are a drama that takes viewers back and forth across the border, a faith-based musical drama inspired by a “what if” scenario surrounding Elvis Presley’s birth and a biographical drama in which Kevin Kline portrays swashbuckling Hollywood star Errol Flynn.

‘Beneath’

A crew of coal miners becomes trapped 600 feet below ground after a disastrous collapse. As the air grows more toxic and time runs out, they slowly descend into madness and begin to turn on one another. (NR – 89 minutes)

“Beneath” should have remained buried in rubble. The new thriller about a crew of coal miners who become trapped 600 feet below ground after a disastrous collapse claims to have been inspired by true events. And it starts off particularly promising, setting up a scenario in which we will feel the agonizing claustrophobia and consternation of a situation that we have all heard about on the news. However, director Ben Ketai and screenwriters Patrick Doody and Chris Valenziano must have been dissatisfied with the simplicity of this sincerely scary situation and muddy it up with madness, which makes it not only a bad movie but also an offensive one. (Thumbs Down!)

‘Frontera’

Ed Harris plays a former Arizona sheriff whose wife is killed while riding on their ranch property. It would appear that a Mexican man (Michael Pena) illegally crossing into the US is at fault. As the former and the current sheriff search for answers, lives are changed forever. (PG-13 – 103 minutes)

“Frontera” is a fantastically absorbing drama that addresses a specific subject from a variety of viewpoints thereby making for a universally empathized experience. Writer/director Michael Berry’s first feature-length film truly is a triumph, taking viewers back and forth across the border with a story about several people whose lives collide into tragedy. However, the movie marches through heartache to hope, ending on a note of optimism amidst so much hate and prejudice. Its final moments are guaranteed to take your breath away while the rest will incite interminably moving meditation. (Thumbs Up!)

Breakthrough Interviews: Writer/Director Michael Berry (‘Frontera’)

‘The Identical’

Blake Rayne plays identical twin brothers who are separated at birth during the Great Depression. Despite their very different upbringings, the boys’ shared passion for music causes their lives to unknowingly intersect as they experience a powerful and mysterious connection. (PG – 107 minutes)

“The Identical” is no cheap imitation. Featuring rockin’ music, a nostalgic atmosphere and authentic performances – especially from star Blake Rayne – the new faith-based musical drama inspired by a “what if” scenario surrounding Elvis Presley’s birth makes this movie the real deal when it comes to not only entertainment value but also thought provocation and emotional resonance. It will surely take you back in time while genuinely affecting and encouraging you to use your talent – whatever it may be – to bring joy to anyone and everyone within your reach. It will move both your heart and your feet. (Thumbs Up!)

Breakthrough Interviews: ‘Elvis’ Wade Cummins (‘The Identical’)

‘Innocence’

Sophie Curtis plays a young girl who, haunted by the death and dreams of her mother, moves with her father to Manhattan and enrolls at an exclusive preparatory school. Once there, her psychosis and hallucinations intensify as she discovers that her new school may be run by a coven of women who perpetuate their youth by drinking the blood of virgins. (PG-13 – 96 minutes)

“Innocence” is supposed to be an allegory of the precarious state of an American teenager as it explores themes of loss, the human condition and a society torn between purity and narcissism. However, the only message that is likely to be bestowed upon its target audience of preteen girls is that they should disobey their parents and have sex as soon as possible. Fortunately, even said demographic may have a hard time staying awake for the entirety of this melancholic “Twilight Saga” knock-off. Speaking of which, star Sophie Curtis’s crestfallen Beckett makes Kristen Stewart’s wet-dish-rag Bella look overly exuberant. (Thumbs Down!)

‘The Last of Robin Hood’

Kevin Kline portrays Errol Flynn – a swashbuckling Hollywood star and notorious ladies man who undertakes a liaison with aspiring actress Beverly Aadland (Dakota Fanning) that eventually comes to a crashing end when events force the relationship into the open, sparking an avalanche of publicity. (R – 94 minutes)

If it were not for the strength of of its stars, “The Last of Robin Hood” may have been a bit harder to recommend seeing. After all, it depicts a love affair that is not only rather revolting but also somewhat insignificant. However, at the heart of it all is the search for happiness which, as we all – and the trio at focus in this flick – know, is an incredibly difficult and ofttimes messy endeavor. That theme along with a pitch-perfect performance from Kevin Kline as well as equally excellent efforts from Susan Sarandon and Dakota Fanning make this movie well worth watching. (Thumbs Up!)

Breakthrough Interviews: Writers/Directors Richard Glatzer and Wash Westmoreland (‘The Last of Robin Hood’)

‘The Longest Week’

Jason Bateman plays an affluent and aimless man who lives a life of leisure in his parent’s prestigious Manhattan Hotel. In the span of one week, he finds himself evicted, disinherited and in love. Olivia Wilde, Billy Crudup and Jenny Slate also star. (PG-13 – 86 minutes)

“The Longest Week” wants to be a Wes Anderson film so badly that you almost start to empathize with it and like the new dramedy out of sheer pity. That is more than you can say about any of its characters, all of whom are incredibly unlikeable as they engage in dull discourse about problems that most moviegoers wish that they had. First-time writer/director Peter Glanz shows promise but he is merely imitating others here and that artificiality affects the authenticity of his character arcs. As a result, the entire ordeal feels fruitless and without meaning. (Thumbs Down!)

‘May in the Summer’

Cherien Dabis plays a woman who, upon returning to her familial hometown of Amman, Jordan for her wedding, is led to question the direction her life is taking. Her once carefully structured world appears to unravel as she grapples with her own truths. (R – 109 minutes)

“May in the Summer” seems more like a soap opera set in Amman than a legitimate feature-length dramedy. That is because writer/director Cherien Dabis – who also stars in the film as its title character – does not establish a specific purpose for her story and instead merely makes it an account of things that occur over one summer with the thin thread of pre-marital apprehension. As a result, we do not particularly mind spending the summer with these characters but we never become invested enough in their problems to make the experience emotionally resonant or even genuinely entertaining. (Thumbs Down!)

‘Trailer Park Boys: Don’t Legalize It’

Robb Wells plays a man whose dope growing business is under a major threat when the government announces a plan to legalize marijuana so he heads to Ottawa to make an impassioned plea to protest decriminalization. (NR – 95 minutes)

“Trailer Park Boys: Don’t Legalize It” – the third feature-length film version of the Canadian small screen mockumentary series about life at a trailer park – takes entirely too long to get rolling and instead starts off with way too many silly ancillary characters muddying up a formula that works best when it focuses on its three leads’ absurd antics. The story eventually gets there as Robb Wells’ Ricky, John Paul Tremblay’s Julian and Mike Smith’s Bubbles hit the road and flail around in the big city like fish out of water, but the laughs – although large – arrive too late. (Thumbs Down!)

Writers/directors Richard Glatzer and Wash Westmoreland speak with “Breakthrough Entertainment” about their new biographical drama “The Last of Robin Hood,” in which Kevin Kline portrays Errol Flynn – a swashbuckling Hollywood star and notorious ladies man who undertakes a liaison with aspiring actress Beverly Aadland (Dakota Fanning) that eventually comes to a crashing end when events force the relationship into the open, sparking an avalanche of publicity.

Writer/director Casey La Scala speaks with “Breakthrough Entertainment” about his new faith-based thriller “The Remaining,” in which Alexa Vega, Johnny Pacar, Shaun Sipos, Bryan Dechart and Italia Ricci play a group of friends who gather for a wedding only to find the celebration shattered by a series of cataclysmic events and enemies foretold by biblical end-times prophecies.

Among the new movies that were released Friday, Aug. 29 are a thriller starring Susan Sarandon, a spy flick featuring Pierce Brosnan and a relationship drama with a sci-fi twist.

‘The Calling’

Susan Sarandon plays a detective who has not had much to worry about in her sleepy town of Fort Dundas until a string of gruesome murders in the surrounding countryside brings her face to face with a serial killer driven by a higher calling. (R – 108 minutes)

“The Calling” may at first feel like “Fargo’s” younger, grislier cousin but it eventually finds its footing as a legitimately provocative thriller of its own ilk. Its above-average cast – including Susan Sarandon, Topher Grace and Gil Bellows – paired with the intriguing faith-based motivations of its antagonist help to keep audiences engaged in what could have otherwise been considered just a big-screen version of “Criminal Minds.” The final act becomes a bit convoluted but the road to that destination is quite compelling as the detectives piece together an exceptionally bizarre puzzle using victims’ mouths. (Thumbs Up!)

‘Chef’

Jon Favreau plays a chef who, having quit his job at a prominent restaurant after refusing to compromise his creative integrity for its controlling owner (Dustin Hoffman), teams up with his ex-wife (Sofia Vergara), his friend (John Leguizamo) and his son to launch a food truck. (R – 115 minutes)

“Chef” is a charming little feel-good comedy that is absolutely impossible to watch on an empty stomach. And even if you walk into the theater feeling full, you will walk out with painful cravings for Cuban and grilled cheese sandwiches. Moreover, the movie’s tale is just as tasty, inspiring its viewers to live a life about which they are extremely passionate and to savor each and every second of each and every day. Complete with a cast that includes Dustin Hoffman, Sofia Vergara, John Leguizamo, Bobby Cannavale, Scarlett Johansson, Oliver Platt and Robert Downey Jr., writer/director/star Jon Favreau has cooked up something delicioso. (Thumbs Up!)

‘The Congress’

Robin Wright plays an aging, out-of-work actress who accepts one last job – though the consequences of her decision affect her in ways she didn’t consider. (NR – 122 minutes)

“The Congress” has a lot of intriguing ideas. Too many, as it turns out, because the end-result is a messy amalgamation of philosophical concepts and social commentaries that will only occasionally amuse while way too often confuse and therefore drive disinterest. Granted, star Robin Wright gives a commendable performance here – both in live-action and animated form – and those who would like to experience what a trip induced by a marijuana-acid hybrid might look like will surely get something out of this arthouse sci-fi flick. However, most will be left with little more than an itch on the top of their head. (Thumbs Down!)

‘Frank’

Domhnall Gleeson plays a young wannabe musician who discovers that he has bitten off more than he can chew when he joins an eccentric pop band led by the mysterious and enigmatic character (Michael Fassbender). (R – 95 minutes)

Thanks to the fact that one of its main characters sports a large papier mâché mask on his head, “Frank” is a film that will repel most moviegoers right off the bat while appealing to a curious few. Unfortunately, the new dramedy is too quirky… no… weird for its own good and that aforementioned curiosity is killed off quite quickly. Domhnall Gleeson’s colorless character being positioned as the motion picture’s protagonist instead of Michael Fassbender’s mental-illness-plagued man for which the movie is titled only makes matters worse, as does a slow pace that takes entirely too long to go anywhere. And don’t even get me started on the abominable music. (Thumbs Down!)

‘Life of Crime’

John Hawkes and Mos Def play common criminals who get more than they bargained for upon kidnapping the wife (Jennifer Aniston) of a corrupt real-estate developer (Tim Robbins) who shows no interest in paying the $1 million dollar ransom for her safe return. Will Forte and Isla Fisher also star. (R – 94 minutes)

“Life of Crime” is undeniably amusing – especially during its setup as its kooky characters trip over one another and themselves to pull off a kidnapping or keep certain secrets. However, as time goes on, viewers become just as impatient waiting for something – anything – to happen in the new comedy as its kidnappers do waiting for someone – anyone – to discover their crime. A distinct lack of tension does not help matters much, nor does the fact that its twists play out in dialogue rather than actual action. Still, it’s talented cast, dark demeanor and sheer unpredictability make it a passable piece of entertainment. (Thumbs Up!)

‘The November Man’

Pierce Brosnan plays an ex-CIA operative who is brought back in on a very personal mission and finds himself pitted against his former pupil in a deadly game involving high level CIA officials and the Russian president-elect. (R – 108 minutes)

“The November Man” is exciting enough in the moment but it is an instantly forgettable entry in the CIA thriller genre and hugely overshadowed by the far superior “Jack Ryan: Shadow Recruit” which, released earlier this year, is still fresh in our memories. While it is nice to see former James Bond Pierce Brosnan back in super-spy mode, his character is underdeveloped and therefore a little unlikeable as he downs alcohol hand over fist and spends plays games with a guy who is merely following orders instead of targeting the true antagonist. And to top it all off, when the plot points are not predictable, they are perplexing. (Thumbs Down!)

‘The One I Love’

Mark Duplass and Elisabeth Moss play a couple that, struggling with a marriage on the brink of falling apart, escapes for a weekend in pursuit of their better selves only to discover an unusual dilemma that awaits them. (R – 91 minutes)

“The One I Love” initially operates on an intriguing premise – one that carries plenty of potential for complex contemplation about relationships. Unfortunately, it never digs deep enough and instead evolves into some strange and shallow exercise in science-fiction that very well could have already been done by “The Twilight Zone,” “The Outer Limits” or what-have-you. Worst of all, it concludes with far too many loose ends and key questions unanswered. On the other hand, its theme of how we change and what we expect from the ones we love – although only lightly touched upon – is compelling. (Thumbs Down!)

Among the new movies that were released Friday, Aug. 22 are a drama about an out-of-body experience, a thriller about a self-inflicted possession and a football flick about a 151-game winning streak.

‘If I Stay’

Chloë Grace Moretz plays a young girl whose life changes in an instant when a car accident puts her in a coma. During an out-of-body experience, she must decide whether to wake up and live a life far different than she had imagined. (PG-13 – 106 minutes)

Don’t go to “If I Stay.” What could have been a unique update on “It’s a Wonderful Life” is actually just a generic teen romance with a novel plot-point to draw and dupe audiences. Although young girls are likely to swoon over star Jamie Blackley and the sickeningly sweet things he says to co-star Chloë Grace Moretz that nobody would ever say in real life, more discerning viewers will be bored with the back-and-forth between the past and the present and annoyed with the incessant narration that appears to be reciting the screenplay’s unspoken descriptions. It is creativity in a coma. (Thumbs Down!)

‘Life After Beth’

Dane DeHaan plays a young man whose recently deceased girlfriend (Aubrey Plaza) mysteriously returns from the dead. He slowly realizes that she is not the way that he remembered her. (R – 91 minutes)

Those looking for a good rom-zom-com (that is romantic zombie comedy), check out “Warm Bodies.” Those looking for a bad rom-zom-com, check out “Life After Beth.” Granted, star Aubrey Plaza gives a great performance as a girl who slowly but surely devolves into a flesh-eating lunatic but everyone around her – including co-star Dane DeHaan and supporting actors like John C. Reilly, Molly Shannon, Cheryl Hines and Paul Reiser – appears to be as unamused by the lifeless script as we are. It is not quite D.O.A. as it starts off with potential but all that decays quite quickly. (Thumbs Down!)

‘The Possession of Michael King’*

Shane Johnson plays a man who, following the sudden death of his wife, sets out to make a movie about the search for the existence of the supernatural – making himself the center of the experiment and allowing demonologists, necromancers and various practitioners of the occult to try the deepest and darkest spells and rituals they can find on him. (R – 83 minutes)

“The Possession of Michael King” operates on an incredibly intriguing premise – one that might make for a truly fascinating film for one daring documentarian. However, as this movie is a mockumentary – or a faux-found-footage flick, if you will – events eventually spiral out of control and a premise with plenty of potential is squandered by a concession to go where just about every motion picture about demonic possession has gone before. Still, the first act or two are quite captivating and star Shane Johnson gives a great performance as his character descends into madness. (Thumbs Up!)

*Breakthrough Interviews: Actor Shane Johnson (‘The Possession of Michael King’)

‘When the Game Stands Tall’*

Jim Caviezel portrays high school football coach Bob Ladouceur, who took the De La Salle Spartans from obscurity to a 151-game winning streak that shattered all records for any American sport. (PG – 120 minutes)

“When the Game Stands Tall” fumbles in the first half but recovers in the second, scoring several triumphant touchdowns that entertain, move and most of all inspire. The new sports drama encourages its viewers to put in their absolute best effort each and every day. Other notable themes include (but are certainly not limited to) teamwork and humility. Its scenes set on the field are sure to thrill fans of the genre yet the action is balanced out with enough emotional appeal to charm general audiences as well. Its only missteps take place early as the film desperately tries to find its footing. (Thumbs Up!)

*Breakthrough Interviews: Director Thomas Carter (‘When the Game Stands Tall’)

Among the new movies that were released Friday, Aug. 15 are a drama set at a juvenile reform facility, a documentary about a bunch of dinosaur bones and the third installment in Sylvester Stallone’s all-star action franchise.

‘Coldwater’

P.J. Boudousqué plays a young man who is sent to a juvenile reform facility in the wilderness. As we learn about the tragic events that sent him there, his struggle becomes one for survival with the inmates, counselors and the retired war colonel (James C. Burns) in charge. (NR – 104 minutes)

“Coldwater” is a well-acted, tension-filled and harrowingly haunting motion picture. By dropping moviegoers smack-dab in the middle of the story rather than starting off with any exposition, writer/director Vincent Grashaw and co-writer Mark Penney essentially do to them exactly what is done to their lead character – kidnap them and keep them captive. This results in an almost claustrophobic experience, ratcheting up the already alarming atmosphere that leaves nerves frayed. And at the end of the day, it incites thought and debate – two things that too few films are daring enough to do. (Thumbs Up!)

‘Dinosaur 13’

Filmmaker Todd Douglas Miller chronicles paleontologist Peter Larson’s 1990 discovery of the largest, most complete T. Rex ever found and subsequent 10-year battle with the U.S. government, powerful museums, Native American tribes and competing paleontologists. (PG – 105 minutes)

One of the signs of a good documentary is when viewers feel their blood slowly heat up to an eventual rolling boil. “Dinosaur 13” does exactly that. The new motion picture prompts viewers to become vehemently angry at the man who used underhanded tactics to make himself a millionaire (Maurice Williams), the judge who railroaded a group of paleontologists out of silly insecurity (Richard Battey) and the federal government that – as usual – disregarded the lives it destroyed during its petty political power-thrusting. Filmmaker Todd Douglas Miller keeps us engrossed, engaged and even a little moved by a story that in the beginning appears to be about a bunch of bones but is ultimately unveiled to be about a whole lot more. (Thumbs Up!)

‘The Expendables 3’

Sylvester Stallone reprises his role as a mercenary who, this time around, augments his team with new blood for a personal battle – to take down the Expendables co-founder and notorious arms trader (Mel Gibson) who is hell-bent on wiping out him and every single one of his associates. (PG-13 – 126 minutes)

After two installments of brawny and brainless bangs, blasts and blowups, Sylvester Stallone’s all-star action franchise finally gets a win with “The Expendables 3.” Although the addition of younger cast members – most of whom are athletes instead of actual actors – is a misstep of mediocrity, newcomers Wesley Snipes, Kelsey Grammer, Harrison Ford and especially Antonio Banderas raise the entertainment value while the story seems – for the first time – somewhat well-thought-out and unafraid to slow down every once in a while. In other words, we were always amused but now we are genuinely invested in the rip-roaring ride. (Thumbs Up!)