In this week‚Äôs new releases, Jeff Bridges stars in "The Giver," the film adaptation of Lois Lowry‚Äôs Newbery Medal-winning young adult novel. The film receives three stars. "Let‚Äôs Be Cops"¬†fails to capitalize on the chemistry between its two comedic stars, Damon Wayans, Jr. and Jake Johnson.
‚ėÖ‚ėÖ‚ėÖ ‚ÄúThe Giver‚ÄĚ (PG-13) ‚ÄúLike ‚ÄėThe Fault in Our Stars‚Äô earlier this summer, young people have once again been given their generation‚Äôs version of a message that, although not necessarily new, nevertheless may feel urgent and uniquely timely to its core audience. ‚ÄúThe Giver‚ÄĚ has been made with deep respect for that experience, and for the book that so powerfully predicted the grim universe movie teenagers now inhabit ‚ÄĒ for worse and, in this case, for better as well.‚ÄĚ ‚Äď Ann Hornaday
No stars¬†‚ÄúLet‚Äôs Be Cops‚ÄĚ (R) ‚Äú‚ÄėLet‚Äôs Be Cops‚Äô is the kind of movie that depends for laughs on tired bits involving kids swearing, and sustains the audience‚Äôs interest with frequent excuses to ogle shapely women dancing provocatively in bars, at parties or, in one unsavory instance, on her own skankily disheveled couch. Johnson and Wayans are both gifted comic performers but are given way too little to do in a film that wends its way from set piece to set piece, not with antic glee but desultory and-then-this-happens randomness.‚ÄĚ ‚Äď Ann Hornaday
‚ėÖ‚ėÖ‚ėÖ ‚ÄúDinosaur 13‚ÄĚ (PG) ‚ÄúIn the taut, emotionally gripping documentary ‚ÄėDinosaur 13,‚Äô filmmaker Todd Douglas Miller meticulously re-creates seven eventful, tense and finally heartbreaking years, starting with the thrill of Hendrickson‚Äôs initial discovery of a few vertebrae. The story continues, wending through byzantine legal battles, Kafka-esque custody hearings, appalling governmental overreach and, finally, the simple love story between a man and his fossil.‚ÄĚ ‚Äď Ann Hornaday
‚ėÖ¬Ĺ ‚ÄúThe Expendables 3‚ÄĚ (PG-13) ‚ÄúThe latest in the ‚ÄėExpendables‚Äô franchise is also the longest, clocking in at a little over two hours. That‚Äôs well beyond anyone‚Äôs daily dietary requirement for machine-gun fire and middling dialogue. Stallone should save some of his material for the practically inevitable fourth movie. After all, Steven Seagal and Kurt Russell need something to do.‚ÄĚ ‚Äď Stephanie Merry
‚ėÖ‚ėÖ¬Ĺ ‚ÄúLand Ho!‚ÄĚ (R) ‚ÄúCinematographer Andrew Reed frames the scenes of human interaction nicely. But the film‚Äôs pale color palette doesn‚Äôt bring out the best in landscapes that inspire awe both in person and in such big-budget films as ‚ÄėPrometheus‚Äô and ‚ÄėThe Secret Life of Walter Mitty.‚Äô ‚Äď John DeFore
‚ėÖ‚ėÖ‚ėÖ ‚ÄúSiddharth‚ÄĚ (Unrated) ‚ÄúMovies and television have turned us into believers of fanciful feats of heroism. We‚Äôve seen so many examples of reality-defying comeuppance that we don‚Äôt just accept it when, for example, Liam Neeson hunts down his daughter‚Äôs captors in ‚ÄėTaken,‚Äô killing and maiming countless villains along the way; we expect it. It‚Äôs far more jarring to witness the reality of such a situation ‚ÄĒ just what ‚ÄėSiddharth‚Äô offers.‚ÄĚ ‚Äď Stephanie Merry
‚ėÖ‚ėÖ‚ėÖ ‚ÄúThe Dog‚ÄĚ (Unrated) ‚ÄúThe T. Rex song ‚ÄėLife Is Strange,‚Äô which ushers in the closing credits of ‚ÄėThe Dog,‚Äô feels like a giant understatement, based on what has come before it. The fascinating and, at times, very funny documentary portrait of the late John Wojtowicz (1945-2006), whose 1972 attempted bank robbery inspired the film ‚ÄėDog Day Afternoon,‚Äô also puts that narrative feature to shame.‚ÄĚ ‚Äď Michael O‚ÄôSullivan