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28 year old Eric Packer (Robert Pattinson) is a billionaire asset manager detached from his own emotions, conscious, and sense of right or wrong. On a limo ride across Manhattan to get a haircut a whole cast of characters file in and out of the car to peel back more of Packer’s psyche and perhaps his downfall. Directed by David Cronenberg, this will not be everyone’s cup of tea. Stylized and presented with a glib and soulless affectation Pattinson doesn’t feel stretched here. Dialogue and script feel pretentious and self important, when really what it feels like is that we’re seeing another social commentary on the financial system and it’s ugliness, been there done that. The upside is that the cinematography and use of space is particularly interesting and noteworthy. Maybe a rental when you’re up for a challenge. Rated R.

It’s all about Motown and the girl group that never was as singer songwriter Sparkle (Jordin Sparks) and her two sisters (Carmen Ejogo and Tika Sumpter) gain the attention of a major record label. But drugs, men, and family drama could be the downfall off them all. Meanwhile, the girl’s mother, Emma (Whitney Houston), does her best to steer her girls towards success, but some kinds of help are the kind of help we all can do without. In what feels almost autobiographical for Houston, a number of her lines, now posthumous, ring as downright eerie or ironic, or both. Meanwhile, the rest of the script is so drab and boring it barely carries us to the songs we’re all hoping to hear. And, at that, the music doesn’t exactly stay in the period, odd since this is really supposed to be a period piece. But then, the musical performances were pretty good, so….go figure. Lesser cinematography rounds out the rest. A sad final note for Houston to go out on.

When the U.S. government catches wind that several high ranking officials and top secret security programs are about to be exposed to the public, Retired Col. Eric Byer, USAF (Edward Norton), is called in to help contain the disaster. But bigger problems are in his hands as he’s forced to shut down Operation Outcome; a program related to the super soldier machine that made Jason Bourne (who’s still missing btw). Of course, stopping super soldiers has never been an easy task, and this time subject #5, Aaron Cross (Jeremy Renner), just happens to be out of reach, barely. Now it’s a game of cat and mouse as Aaron runs from the government that trained him; but, to be truly free he’ll need the help of Dr. Marta Shearing (Rachel Weisz). Both wanted dead, the race is on and disappearing wont be easy, can it be done, and what length will they have to go to in order to survive? So, Jeremy Renner, action hero/uber spy? You bet, he can run, jump, duck, dodge, dive, punch, kick, and spar with the best of em. And Rachel Weisz as a damsel in distress; not really a stretch for her acting chops, but she handles the role admirably. The non-stop score from James Newton Howard here is an impressive work, and the film technically feels well put together. So what’s the issue? Well, for one the story’s a bit too convoluted. In an attempt to slowly pull back the onion peels and keep the audience in suspense, Director Tony Gilroy runs the risk of losing the audience’s attention. And two, the film takes forever unraveling its entire plot, clocking in at 2 hours and 15 minutes the film overstays its welcome by a few minutes. A number of the chase sequences feel like déjà vu material as well. Although, I suppose there’s really only so many ways you can make a rooftop chase or a motorcycle race look different right? On the flip side, critics of the super shakey action cam from previous Bourne installments will be pleased to see the handheld movement is a bit more subdued. Overall, worth the big screen, just be prepared to pay attention. The Bourne Legacy is rated PG-13.