Jupiter Ascending (2015)

I have a love/hate thing with the Wachowski siblings Andy and Lana (ne Larry). “Matrix”? One of the best action films ever. Sequels? Crap. “Cloud Atlas”? An epic too messy to land, but I loved the struggle. Now comes “Jupiter Ascending,” a sci-fi jumble of storyboards turned into overdone CGI fireworks that never spark. The Wachowskis think they have something as profound as “Dune” on their hands. Reality: This is nothing more than a “Flash Gordon” retread, complete with the space-man hero (Channing Tatum) crashing through a cathedral ceiling to save the damsel (Mina Kunis) from marrying some wicked creep. And it’s not even funny. Tatum’s hero is a half-man/half-dog soldier, while Kunis plays a janitor who is the reincarnated clone of a dead space queen. When Tatum’s hero tells Jones she *owns* Earth, literally, our gal gawks and wonders if he *loves* her. Is she 14? Mentally afflicted? Sean Bean sulks about, bored. Eddie Redmayne -– hot off “Theory of Everything” –- fly spits everywhere, over-acting. Nonsensical, edited to ribbons -– continuity errors abound -– and insanely overly complicated, I should have taken the blue pill. D

The Theory of Everything (2014)

Stephen Hawking’s life defies bullshit terms such as inspirational. Fifty years he has lived with motor neuron disease, his body crumbling even as he stuns us with his thoughts on how we came to exist. What comes next. “The Theory of Everything” is not about theories, but Hawking’s marriage to Jane Wilde. That’s enough story. It does not require delusions and conspiracies as was done to genius John Nash in the overdone “A Beautiful Mind.” For this love -– as you know –- succumbs. The life and mind and demand of Hawking’s needs are too much to bear, and that is the hook of this story. Directed by James March (“Man on Wire”), “Theory” knows fantastical love cannot overcome reality. And Hawking is about reality. He believes God is a myth; Wilde holds that God is among us. Their marriage cannot survive, not when she falls for a kindly man of God, and he for a pragmatic nurse. “Theory” bypasses many of Hawking’s history-resetting thoughts, but the filming of such, would be impossible. No? As Hawking, Eddie Redmayne breaks out as a major young actor of our time, while as Jane, Felicity Jones plays at war with the soul. B+

Black Death (2010)

Few sights are as sick as some bigot spouting off about the evil of Islam, as they uphold the Christian Church as the Shining Symbol of Humanity. They should watch “Black Death,” a grisly horror-thriller about the mid-1300s Black Plaque that ravaged Europe. The power-mad Church calls the plague God’s punishment against the unfaithful, and the only way back to His (its) grace is absolute submission. (Sound familiar?) Eddie Redmayne plays a naïve monk conflicted about his oath to God who travels with several Christian soldiers to hunt an untouched village, for it must hold sinners. Director Christopher Smith and writer Dario Poloni don’t go simple, for that village has a blood thirst greater than the Church. Sean Bean is the head Soldier of Christ, and his demise is one for the Sean Bean Movie Death record books. Too bad Redmayne is so boyish he makes Tin-Tinseem like Jason Statham and fails huge at the darkest scenes that end this blackest of tales. Smart, tense, and wide-open as the similar-themed “Season ofthe Witch” is dull, dumb and CGI’d to hell, “Death” coolly reminds us that Men of God are rarely ever that. B

My Week with Marilyn (2011)

Playing Marilyn Monroe is no small feat. She’s the definitive Hollywood icon of sex and tragedy, 40-plus years after her death. Yet, Michelle Williams nails the part with astounding skill, and not just of Marilyn Monroe, but the way Marilyn played “Marilyn” for cameras, for hangers-on, and adoring, endless fans. A role that seemingly even confused herself, according to the screenplay. The lyric “I’m not broken but you can see the cracks,” from U2, comes to mind. In 1957, Monroe arrived in England to make a film with Sir Laurence Olivier (Kenneth Branagh, eerily good), and the screen goddess created an instant clash with her wayward, unreliable off-screen ways. The “My” in the tile is Colin Clark, a young assistant director who befriends, and so much more, the star. A guy named Eddie Redmayne plays him. True story? Don’t know. If the real Colin lied in his books, he didn’t fib big, because he and Marilyn don’t go there. This is Williams’ film. It’s dull whenever she’s not onscreen. It’s a drama and a morality tale, so, yes, drugs are bad. Williams is a pure goddess on screen. Bravo, miss. B+