Claudia Puig

While the neo-Gothic tale is inherently intriguing, the film should inspire strong emotion, but deliberate pacing and a contained sense of melodrama make it a surprisingly passive experience.

As written, directed and, of course, acted by Sylvester Stallone, this film provides more insight into the character and his psyche than previous films, which were much more about the punches thrown.

Finally, there's a big-budget popcorn movie that delivers what moviegoers hunger for: humor, action, thrills and charismatic characters. Pirates of the Caribbean: The Curse of the Black Pearl is the summer blockbuster we've been waiting for.

Zone feels anticlimactic now. It also pales in comparison to Oscar-winning "The Hurt Locker," the most powerful film yet made about the Iraq war.

A good farce is hard to find. Particularly one that holds up for the entirety of the story and keeps us engrossed, while smiling. Miss Pettigrew Lives for a Day is a particularly effective and cheeky example.

With director Harmony Korine's visual overload and somnolent voice-overs — the same sentences are repeated ad nauseum — it manages to be both mind-numbingly dull and off-putting.

For its stunning iridescent look and infectious music, Rio is a refreshing adventure worth taking.

A bit of a throwback, a nostalgic, easygoing Capra-esque comedy that should appeal to both youthful and older audiences.

The film’s major saving grace is how it seeks to be inclusive in its depiction of Christianity. Through a collective endeavor, a sense of community and faith is reinforced.

The movie makes some missteps, most of them in pacing and length, and the story veers occasionally into melodrama, but it is saved by the powerful performance of Benicio Del Toro.

A poignant look at the legacies of fathers who abdicate their responsibilities.

Essentially, it boils down to familiar fare: a well-paced, entertaining, conventional action thriller where a reluctant hero saves the day.

A refreshingly silly and clever portrait of a strikingly daft and clueless man.

The primary upside to The Upside of Anger is the presence of Joan Allen in the lead role.

This sweetly enjoyable family film stars the endearing Abigail Breslin as Kit. And, refreshingly, it's actually about something -- the Great Depression -- and tackles such serious issues as prejudice, poverty and homelessness.

Enjoyable enough. Though like some holiday fare, it doesn't quite stay with you.

Free Fire is an ultra-violent, gut-punching spectacle that borders on a slog. It makes you feel guilty even for enjoying minutes of it, and then empty after it’s all done.

Has some funny moments, silly mispronunciations and comical socio-political references. But it suffers from being the second animated movie this year to feature a dastardly villain for a hero.

It's consistently funny -- with witty dialogue and offbeat banter that stays in your head for days.

Invincible doesn't offer any surprises. But it is a well-made, fairly exciting movie that, like its hero, has heart.

Despite its flaws, Shutter Island is worth seeing for the palpably nightmarish and gothic world conceived by Scorsese

It is a lovely film for the holiday season, as well as afterward, and is reminiscent of "Finding Neverland," without the darker undercurrents.

Is there a word that means the opposite of Cowabunga? If so, that's the word for the charmless, dull and derivative new take on the Teenage Mutant Ninja Turtles.

The corny love story is all the more disappointing given the pedigree of the octogenarian actors.

Bubble is a haunting film, made all the more intriguing by the use of ordinary people, not actors, in all the roles.

Youth's screenplay, by Gustin Nash, is generally witty.

Visually exhilarating, provocative and disturbing.

We're supposed to be agog at the fantastical creatures and dazzling special effects. But the more wrenching story of disillusioned children nags in the background, distracting from any enchantment.

An exhilarating fantasy adventure marred only by its length and protracted climactic battle scenes.

The rambunctious Iron Man 3 is a briskly paced thrill ride until about 90 minutes in, when the excitement wanes. A few late-breaking surprises re-invigorate the tale, however.

Hollywoodland explores an intriguing bit of Hollywood history, and through the strength of its performances keeps us engaged and entertained.

It takes a particularly ham-fisted filmmaker to transform a fascinating and historically significant story into something as formulaic as 42.

Though it's not likely to become a classic like the Hitchcock film, it's a smart and well-acted teen thriller that serves up some lively scares.

Deception is not the cool, noirish thriller it tries to be. Despite a cast that includes double-crossers Hugh Jackman and Ewan McGregor and Michelle Williams caught in the middle, the film is a yawn.

The movie feels more like a slightly longer episode of Disney's old "Winnie the Pooh" television series.

This fun-loving genre-bender, inspired by "Smokey and the Bandit," opens languidly, then picks up the pace. Even in the midst of cars racing, it's funny and endearing.

Godzilla 2014 is a more somber and frightening reboot than the cartoonish 1998 movie.

The bone-crunchingly violent film has luridly entertaining moments. But by its resolution, this sleazy Southern Gothic nightmare has simply gone off the rails.

Ruffalo and Knightley make an engaging pair of colleagues and their musical adventure together results in an enchanting, gently funny and occasionally poignant story.

Kimberly Elise gives the best performance as a beleaguered woman with an abusive boyfriend (Michael Ealy).

Though preachy at times, Catch a Fire is a well-constructed action thriller elevated by Luke's performance.

The live-action elements — mostly in the person of Antonio Banderas as cranky pirate Burger Beard, who spends most of his time addressing a flock of seagulls — don't mesh seamlessly with the animated sequences. It almost feels like two movies awkwardly melded together.

As frothy and smooth as a chilled margarita on a hot Vegas night.

Princess Diana's antecedent, both genetically and figuratively, was a beautiful and glamorous duchess named Georgiana Spencer. Like her descendant, her charm and vivacity captivated England.

Big Eyes is a fabulous match of artist — Burton — and material. While it's one of the director's more low-key works, his trademark sly wit infuses the mesmerizing stranger-than-fiction biopic.

Claustrophobic, compelling and suspenseful.

George is cute, and the simple story has its entertaining moments.

A film noir detective story that works for both devotees of the series and the uninitiated.

If you don't mind some contrivance, On a Clear Day is a diverting underdog tale.

A psychological drama with an intriguing ambiguity that challenges the viewer's loyalties and preconceived notions. For the first half of the movie you find yourself on the side of a hunted man. Then as the story unfolds, his pursuer becomes the one you root for.

My One and Only has an old-fashioned sensibility -- and some lovely Mad Men-style costumes -- making for a pleasantly diverting road movie.

The boxing drama Bleed for This has a powerful story and a strong lead performance in its corner, but falls short of knockout status. Hampered by clichéd writing and stereotypical portrayals, this extraordinary true-life account feels run-of-the-mill.

It all adds up to belly laughs aplenty and a rollicking good time.

A visually arresting and entertaining romp, but it lacks some of the sardonic humor of the popular children's books on which the movie is based.

Not a movie to cozy up to. The twisted tale is only mildly intriguing, worth seeing mainly for the striking performance of Jamie Bell (Billy Elliot) as Hallam Foe, a creepy teenage voyeur beset with an Oedipal complex.

This shallow sequel to 2010's much cleverer Despicable Me — the 10th-biggest animated movie in U.S. history — seems to be merely going through the motions.

This bromance with rapid-fire quips, however, is undermined by unoriginal scenarios and a long, drawn-out chase scene.

As opposed to modern horror flicks like the "Saw" movies, where gruesome violence can almost blunt fears, The Woman in Black is a tasteful, old-school frightener, emphasizing suspense and foreboding over blood and guts.

Not only is Saved! subversively funny, it is unexpectedly sweet.

At its best in scenes featuring Hathaway's mercurial character. It's a triumphant and darkly nuanced role for her and a departure from the more lighthearted comedic performances she has given.

The story starts out well, then becomes contrived and goes on too long.

Frisky fun made all the more entertaining because of the potent chemistry between its quartet of lead actors.

The Help sidesteps easy sentimentality. As the film's heart and soul, Davis and Spencer add vast reserves of depth and dignity to a crowd-pleasing tale.

Bug won't get under your skin as much as it will assault you with its ghastly claustrophobic drama and over-the-top performances.

Wedding feels a bit anachronistic. Still, not every low-budget movie must be quirky or bleak, and a happy ending is no cinematic sin.

Ice Harvest's plot sounds like an antidote to the season's holiday sweetness. And it's being touted as this year's Bad Santa. But the only similarities are the holiday season, the criminal milieu and Thornton.

A refreshing, mature fairy tale.

Scarlett Johansson is ideally cast as a rapidly evolving kick-ass hero in Lucy, a stylish action thriller that is equal parts dazzling and ludicrous.

The comic appeal of The Devil Wears Prada is the cinematic equivalent of a size 2 - wafer-thin and ultimately lacking in meat and substance.

While it's too hastily and neatly resolved, Hello I Must Be Going is a funny, well-written, involving and emotionally honest tale.

Clooney has excelled in serious roles - notably in "Michael Clayton" and "Syriana." But his Jack, a brooding assassin seeking redemption, is a bigger departure, and he pulls it off well.

This is Disneynature's third and best release, after 2009's "Earth" and 2010's "Oceans." With its compelling narrative of survival, it will probably be the one that most enthralls audiences.

Something this gleefully goofy and consistently funny would be welcome in any environment.

It's an uneven experience, with some evocative moments and others that don't resonate as much as they should.

Deliberately paced, epic and ambitious, The Good Shepherd feels related in tone, mood and style to "The Godfather."

If Mel Brooks were to team up with Tim Burton, the result might be something like the loony and colorfully tantalizing animated film Igor.

It's certainly a worthy saga. But given the abundance of one-dimensional human portrayals, it becomes apparent that a documentary on the subject might have been more powerful.

Night Moves is a thoughtful, clear-eyed and provocative film that raises thorny questions but doesn't offer easy answers.

Director George Tillman Jr. compellingly probes how parentless kids cope without financial resources or adults who give a damn.

A visual treat with an engaging story that has an uplifting, but not maudlin, message.

This is not enjoyable entertainment, but it is brutally watchable.

Dark humor intersperses with poignant moments. Though the conclusion feels forced, the movie works.

Simple and evocative, yet teeming with intriguing visual effects.

Both darkly funny and life-affirming, in an offbeat and offhanded way.

Gyllenhaal is excellent in the dual roles, though Laurent (Inglourious Basterds) is given too little to do to make much of an impression. Isabella Rossellini has a brief, thankless role as the mother of at least one of the two look-alikes.

Emerges as a potent inspirational story on the strength of its two lead performances.

A sensitive and occasionally poetic film, Brick Lane is an absorbing tale of personal empowerment and emotional growth.

For younger audiences drawn by the attractive actors, this might be their introduction to the Dumas epic. At least it's an effective and rousing version.

This is not a simple, uplifting tale. It's never clear whether Charlie will fully recover, and that sense of realism is the film's strength.

The movie cleverly spoofs the 24-hour TV news cycle, as well as sexism and racism in the workplace. Not every scene is equally funny, of course, but most of the comic antics generate laughs.

It's rambunctious and unruly, but mesmerizing.

Unsettling and well-acted story.

The coming-of-age film is poignant and comical, sitting squarely on that threshold, focusing on the time when a teen is part boy, part man and all adolescent.

Well-acted and intriguing exploration of dishonesty in its varied forms, leavened with a dry comic touch.

Wilts under a weak, formulaic story.

Like the fumbling around of first-time sex, The To Do List has its enjoyable moments but doesn't exactly feel like a peak experience.

Shocking is the fact that three highly regarded actors -- Kim Basinger, Mickey Rourke and Billy Bob Thornton -- chose to star in this dreadful film.

There's a new heist film in town that follows the conventions of the genre and then adds a couple of fresh and endearing twists.

It's too bad that this long-awaited movie didn't go further than faithfully re-creating Kahlo's artwork and her studied look. Her passionate and tragically short life (she died at 47) is ideal Hollywood material, but the audience is left wanting a more in-depth portrait.

Catherine Keener is also believable and sympathetic as Lopez's editor and former wife. But the film's power comes down to the strength of the two superb lead performances.

More animals don't necessarily translate to more fun and laughter, at least not when it comes to animated sequels.

Can't seem to decide whether it wants to be an edge-of-the-seat action thriller or a more contemplative and intellectual drama about religion and terrorism. Somehow, in trying to have it both ways, it doesn't completely succeed at either.

Harold and Kumar's Christmas movie is silly, if uneven, fun. While it mocks 3-D technology, it also makes relatively fresh use of it and qualifies as the most ambitious of the trio of films.

Compelling tale of a free-spirited record producer, played with perfect pitch by Frances McDormand.

Impassioned, informative and entertaining, if sometimes repetitive.

The true story of the recordbreaking Secretariat is pretty stupendous as is. It didn't need schmaltzing up.

Somehow Statham comes out of this improbable thriller with his dignity intact.

Fast & Furious 6 might have just as easily been called "Planes, Tanks and Automobiles."

A breezy, mirthful caper enlivened by the comic talents of Ricky Gervais, Ty Burrell and Tina Fey.

Affleck ought to do more quirky character roles rather than leading-man parts in action films. Bateman plays his low-key straight man/protagonist to perfection.

Misfits and misanthropes are the heroes of Role Models, a surprisingly clever comedy.

A compelling and uplifting tale that exposes the viewer to an unfamiliar, fascinating culture and a family dynamic that is recognizable and nuanced.

This is Austen lite, but pleasantly so. You can hardly fault a movie that fashions itself around a consummate writer whose keen sense of humor and gift for fully realized characters have resulted in countless screen adaptations.

This Hulk is more viscerally angry and packs a bigger wallop than Ang Lee's talkier, more introspective version. But it's hardly the best superhero movie around. "Iron Man" was wittier and more fun.

Fighting seriously lacks punch.

A suspense thriller that intelligently explores the ideal of lasting love.

While the talented quartet play these hypocritical sorts with finesse, the story grows tiresome, its cynical point made early and often.

The visionary filmmaker's psychological thriller weaves a too-complicated tapestry.

But reserve dampens the passion in Lust, Caution, his beautifully mounted but rather unmoving film. It feels surprisingly cold, despite this erotic thriller's ultra-explicit sex scenes.

Yes, it's loud, explosive and silly, but it also perfectly embodies the concept of a summer blockbuster with its simple good-guys-vs.-bad-guys plot, cheeky humor and flawless special effects.

Not for everyone. It is darkly funny, intellectually challenging and obliquely didactic. It also grows bleaker over the course of its nearly three-hour running time.

This latest Bourne doesn't send adrenaline surging the way "Ultimatum" did, but it's still a tense, well-acted thrill ride.

Decidedly more thought-provoking than most big-studio summer fare.

An intermittently exciting action film anchored by a strong performance by Jackman, who embodies Wolverine like no one else could.

Solidly entertaining.

Mashing up satire, subtle social commentary, clever gadgetry, keen wit and high-octane style, this spy saga — based on the comic book series The Secret Service — is bolstered by a terrific cast.

Funny People nimbly intersperses humor and reflection. It is a rumination on mortality, fame and life choices, punctuated with Apatow's trademark raunchy humor.

Has such dull patches that as a Volvo races to the scene of a massive shootout, a distracting thought comes to mind: Can Volvos even go that fast?

It tries hard to be sexy, mysterious and dangerous, but ends up laughably inscrutable.

A Southern-style "Ocean's 11" without the pretty boys and Vegas attitude but with plenty of laughs.

Watching Rudd bring dimension to what could have been a clownish caricature is the best reason to see this good-natured family comedy.

Long on imaginative design but less substantial in narrative, this dreary story of fighting the power is more numbing than thought-provoking.

The powerful two-person drama gets watered down by documentary-style footage and voice-overs. But it's worth seeing just for Weaver and LaPaglia.

As suspenseful as any episode of Showtime's "Homeland," which director Michael Cuesta also executive-produced.

Compelling enough, a sort of "Inception"-lite, but the plot holes take it off course.

The film takes a long time to unfold, and some scenes feel inert. But ultimately, the conclusion is moving and satisfying.

This B-list thriller portrays air crews as inept, at best, and callous and cruel at worst.

Notorious is like a piece of well-crafted bling. It looks good, and facets of it shine, but behind the gilded facade there's not much there. And what is there can be troubling and retrogressive.

It's an oft-told tale, but director Mike Newell's handsome version of Charles Dickens' epic novel is marked by strong performances, well-developed characters and gorgeous cinematography.

A cross-cultural charmer, an endearing true story told with intelligence and warmth by director Niki Caro (2002's Whale Rider).

The Heat is the best female buddy-cop movie since, well, ever.

Danny Trejo plays the long-haired, craggy-faced titular Machete with a combination of swift ferocity and baleful kindliness. And the ladies love it.

Brosnan and Dyrholm are irresistible, communicating volumes with mere glances as well as sharp dialogue.

Sometimes it's the most remarkable and heroic figures whom movies can't seem to get right. Such is the case with Mandela: Long Walk to Freedom, a biopic that is more dutiful than illuminating.

The uneven humor, half-baked plot and generic action scenes keep RED from being much fun.

A well-paced action film in the vein of "Speed."

The film's most engaging character is not actually human: It's Manhattan, of course, a point made repeatedly over that protracted dinner by the voluble lovebirds.

The story lacks honesty. For a film about the real problem of mental illness, it never feels authentic. Depression is not something neatly tied up. If this is meant as an allegory, it's vague and unconvincing.

Shannon's restrained and mesmerizing portrayal, bolstered by an excellent offbeat supporting cast, makes for an edgy and compelling Mob yarn.

Hardly fresh, but it never stints on energy or vivid colors.

The inspiring story of surfer and shark attack victim Bethany Hamilton deserves a better dramatization.

It's a rare romantic comedy/road picture that's not only flat-out funny, but also presents complex and well-developed characters.

An innovative -- if only moderately entertaining -- spin on Robert Louis Stevenson's classic Treasure Island.

Think "Boogie Nights" meets "Casino," though it's not likely to make the lasting impression of either seminal film.

The Curse of the Golden Flower is the year's most operatic and visually lavish film.

Unlike most rom-coms, Celeste and Jesse Forever delves into the complicated heart of relationships, exposes some painful truths and allows melancholy to co-exist alongside breezy humor.

A powerful and evocative account of the efforts undertaken to forge a perilous mother-and-child reunion. Told in Spanish with English subtitles, it is a moving tale of yearning, as well as unflagging courage and determination.

While it features three strong performance and the debut of a promising filmmaker, the story line is obvious and rather melodramatic.

Beowulf couldn't be less faithful to the original epic poem, and that's actually a good thing for moviegoers. It's a lot more fun than the mythic adventure most of us read in school.

The film feels as if it's trying to force a sense of wonder and awe upon its youthful audience, rather than simply letting an intriguing story unfold naturally.

Murphy's breathy, high voice as Kitten feels forced, but not nearly as much as the film's efforts to be both whimsical and weighty.

Solidly entertaining and possesses dazzling special effects, but it falls short of the near-perfection of the Spidey sequel.

It's a pleasure to watch these men perform. These are real-life guitar heroes. But it would have been a treat to see more of them talking shop.

As directed by Angelina Jolie, it is occasionally powerful, with soaring visuals. It also is, however, stately and slow to the point of tedium.

The movie is really a lovely ensemble piece. Beautifully conceived and written by Michael Cunningham (Pulitzer Prize-winning author of The Hours), the film has a distinctly novelistic and literate style.

Only a few charming tidbits are nestled snugly in this over-stuffed Christmas stocking.

The final installment of the Hobbit trilogy is the best, featuring more spectacular action scenes as well as the series' most emotionally resonant moments.

Buddy movies are a Hollywood staple, but Rory O'Shea Was Here puts a new and profoundly affecting spin on the tired genre.

J. Edgar shines a probing beam of light on a man who was widely feared, often disliked, but rarely understood.

Lively, educational and intermittently amusing. The fun, however, grows strained and formulaic as the movie goes on.

This is a romantic comedy for people who don't like rom-coms. There's no chance of a happy ending, but its tender mercies speak volumes.

For a well-acted movie about the horrors of war and the lure of revenge, it's surprisingly dull and starchy.

These movies can't possibly be the best chance Neeson has got. Certainly he's offered more nuanced dramas that call on subtler acting skills and don't entail a mounting body count.

The movie really belongs to Phoenix, who gives a haunting performance with just the right degree of intensity.

Should warm viewers' hearts globally.

The film drips with honest emotion and confusion.

Savages comes off as director Oliver Stone trying to rekindle his "Natural Born Killers" mojo from 1994. But when the bigger-name stars show up here in cartoonish roles, things feel more silly than gritty.

Briskly paced, suspenseful thriller.

Just as sharply funny and as heartwarming, yet unsentimental, as the first.

Though the writing is often sharp, one is reminded repeatedly by the actors' theatrical delivery of some lines and by the confined settings that the movie's origins were on stage.

Performances, plot and pacing are as mechanical as the hard-wired cast.

While More Than a Game is a terrific exhibition of talent, exuberance and skill, it is above all a moving tribute to enduring friendship.

Paranormal Activity 3 delivers similarly eerie moments, though long stretches go by where nothing truly ominous occurs.

It's generally enjoyable, amusing and more sophisticated than most films in this genre.

This appealing romantic comedy undertakes the conventions of the formula without an inordinate amount of clichés. Music also infuses the overall plot with a satire of the music industry, and the pop tunes and lyrics are catchy.

Blowing this small-screen cyber horror tale out to the big screen makes for fresh and fearsome fun.

This is not the Travolta of "Pulp Fiction," nor is it the Williams of "One Hour Photo." Though no animals were harmed in the making of Old Dogs, the lead actors were defanged. But like a pair of Labradors, they have a playful rapport.

Give it plenty of points for brutal honesty. But This is 40 could have used more laughs.

The film's look, fashioned by production designer Michael Howells, is noteworthy for its vibrant colors and fantastical feel.

Bettany is the best thing about the movie. A wonderful dramatic actor, he also proves to be richly skilled at romantic comedy, playing Peter with an easy grace and a droll sense of humor.

Ant Bully, while not wildly fresh or inventive, is entertaining and energetic.

The film's mythology is a bit dodgy, and the dialogue is standard issue, but the over-the-top action sequences are occasionally fun, if gory. Ultimately, it's a formulaic, predictable take on a Hollywood staple: the vampire horror film.

Here's how it goes down: 4 is better than 3, about the same as 2 and worse than 1.

Though not exactly a valentine to the octogenarian Nobel Peace Prize winner, the film is a lovingly rendered, candid and intimate portrait.

The quirky film is simultaneously bizarre, humorous, disturbing and suspenseful.

Never was a film so visually stunning and so intolerable as To the Wonder.

An engaging film bolstered by the stellar performance of Julianne Moore.

Informative, morally complex and supremely well-intentioned, it generally sidesteps sentimentality for appealingly straightforward storytelling.

More thought-provoking than frightening. Its stubbornly cynical attitude makes it worth watching, more than the monsters or the impenetrable mist (which looks spewed from a fog machine) engulfing a small town in Maine.

Has a couple of emotionally resonant scenes that build on the first two story lines. But it lacks the intriguing moody quality of the previous films. The mutants are more pumped up and angry this time, rather than misunderstood and conflicted.

Robert Pattinson must be hellbent on escaping the world of sparkly-skinned undead to take on the starring role in the leaden, obtuse and ultra-pretentious Cosmopolis.

Silly as it was, the first movie had a more innocent and campy spirit than this calculated, if faithful, redo.

Classic rock enthusiasts will want to stick around through the end credit sequence, which features an array of album covers.

Though the effort is uneven, it's a well-acted romance that becomes a less compelling courtroom drama.

A darkly disturbing melodrama anchored by some powerful performances.

Its title notwithstanding, there's nothing that remotely approaches a narrative curve ball in this tired saga of an aging baseball scout.

The tale of the resistance movement in Belorussia is undeniably inspiring and ideally suited for a cinematic rendering. But Defiance resists bold, passionate storytelling and delivers something rather conventional.

Donkey continues to be lovable, and Puss in Boots (Antonio Banderas) has one of the funnier character arcs.

Has some appealing characters, a few laughs and then devolves into a predictable Tortoise and the Hare spinoff.

Bardem's soulful turn lends this haunting meditation a sense of hope and saves it from the contrived missteps it teeters toward.

After laughing at crudely funny scenes in The Dictator, there's a cringing sensation of guilt.

The stunts are as muscular and the film as handsome to look at as the hero who so ably pulls them off. But the story linking it all together is thin and weak.

Like an uneven album, the movie has some harmonious, authentically lilting moments and other off-putting ones.

With its fanciful razzle-dazzle, Rise of the Guardians is appealing, if slightly hectic, family fare.

Cheesy, campy B-movie fun, thanks mostly to the cadre of cobras and their ilk and also to Jackson (probably the only actor alive who could pull off this save-the-day bad ass movie role).

It's a pleasure to watch such top-notch actors deliver Coward's sparkling wit.

13 Minutes is well-acted, with authentic settings and an involving structure, but it’s undercut somewhat by a rather flat love story.

Peña is a standout, and Longoria is a revelation as the vulnerable, pregnant Paulina. Hers is a decidedly un-glamorous part and Longoria compellingly fleshes out an under-written role.

The huge contingent of girls -- and women with girlish fantasies -- who liked the first two movies will doubtless enjoy Eclipse. But this third go-round won't make Twihard converts of the rest of us.

The Painted Veil is a welcome addition to the slate of holiday movies, particularly for those drawn to intriguing tales of multi-dimensional characters in exotic settings.

Splinter is no exploitative blood bath or torture horror like the "Saw" movies. It's more of a thriller along the lines of "The Thing" or "Alien." The scares are equal parts psychological jolts and gore. This is classic Halloween fun, with plenty of thrills and chills, surprisingly believable performances, and healthy doses of humor.

The main lessons Jonah attempts to teach are compassion and mercy. That's an unusual -- and welcome -- message these days.

The interwoven stories are haunting, but also darkly funny.

Populaire takes an intrinsically boring activity — typing — and makes it unusually entertaining.

While this third go-round may not seem necessary amid summer's blockbusters, it's an entertaining jaunt back in time with the likably mismatched duo.

So stunningly photographed that the blood that spurts early and often in this grisly period piece is extra-vivid red. But that hardly makes the Prohibition-era story of a trio of bootlegging brothers feel authentic.

In exploring the complicated nature of family bonds, Brothers is thought-provoking. The wounds inflicted by the cruelty of a troubled parent can prove as painful as battle scars.

Despite its title, Prime is not a cut above. This romantic comedy's predictability and rather dull love story make it the cinematic equivalent of a slightly stale hamburger.

Though the film offers a meticulously rendered Depression-era L.A., it's not in the same league as "Chinatown," for which Towne wrote an Oscar-winning script. Here, the characters seem shallow, their motivations murky.

While the production design is impeccable and the journey intermittently involving, The Hobbit is overlong and lacks the enchantment of the Lord of the Rings films.

The world of the fanciful fable looks particularly vibrant this time with its signature blend of realism and fantasy. It is a pleasure to watch these fairy tale folk be themselves -- yet again.

At its best when sticking to a classic sci-fi-fantasy format. But when it tries to be a generic thrill ride, it loses its originality and peculiar charm.

At the rate things are going, all of Hollywood will put in about a day's work on "Ocean's Seventeen."

A movie with memorable and engaging performances.

The breezy and sometime absurd Fading Gigolo is reminiscent of vintage Italian films and early Woody Allen movies.

We Bought a Zoo doesn't seem to know what kind of animal it is. Is it a family melodrama, a love story, a wacky comedy, a drama about coping with grief, a feel-good film about following your dreams, or, as ads seem to indicate, a gift-wrapped animal adventure? Not surprisingly, this menagerie of genres doesn't mesh.

Though not as far-reaching as the book from which it was adapted, Everything Is Illuminated is a movie with wit, warmth and unabashed emotion.

Nothing is etched in anything remotely resembling a hard surface in Stone.

By adhering to the romantic-comedy formula, The Invention of Lying stops short of being truly inventive. But enough sequences are fresh and inspired to make this a comedy honestly worth catching.

Blends humor with heart for a satisfying, if predictable, experience.

Daybreakers is entertaining, though not quite up to the standards of "28 Days Later."

Too many threads are left dangling and the movie ultimately proves too implausible to put alongside those horror classics.

As a chronicle of the collapse of a marriage, the film is choppy, contrived and cloying.

Amid the razzle-dazzle, Spy Kids 3-D: Game Over is sweetly inspiring.

The Intouchables is an exuberantly charming French buddy comedy that proves an audience will suspend disbelief and follow an unlikely story as long as it's superbly crafted.

Partners is exceedingly well-cast and well-acted, bringing a lightly satirical and witty script to life. Meester and Jacobs have a disarming chemistry, and their conversation is filled with a comfortable shorthand.

Though he looks every inch a brawny Norse god, Hemsworth is not just a hunk. His charisma and charming grin go a long way toward making Thor engaging.

A tautly paced, well-acted espionage thriller with the requisite explosions and action sequences. Still, it ends up leaving the viewer rather cold.

The potency of the acting is also undercut by leaden pacing and a sense of claustrophobia.

Though it features no battle scenes, The Notebook shines a powerful, unflinching light on the horrors of World War II.

A remake of a 2003 French Canadian movie, The Grand Seduction is more bland than grand and more eccentric than seductive.

The film is entertaining if contrived. It is not as cleverly structured as Roos' best ensemble comedy, "The Opposite of Sex," which also co-starred Kudrow. But it does have humorous moments.

Melodramatic and gritty Filly Brown marks the debut of a magnetic screen presence in Gina Rodriguez, as well as the final performance of singer Jenni Rivera, who died in a plane crash in December.

In less capable hands, the movie could have been maudlin. Instead, Hicks and Owen have created an intimate drama told with humor and emotion.

Mr. 3000 isn't nearly as fun as an afternoon of America's Pastime.

Amusing, charming and pleasantly nostalgic.

It would be nice to be able to report that Kinky Boots is a kick in the pants. But this conventional, manipulative British import feels like a re-soled pair of shoes that unquestionably have seen their day.

Though it features witty dialogue and good performances, the plot contrivances keep it from being an altogether winning enterprise.

It's tough to summon sufficiently negative language to describe the unfunny, desperate mess that is Bad Words.

The Grand is in the grand tradition of Christopher Guest "mockumentary" comedy satires: Its greatest asset is its eclectic, quirky-funny cast.

The film never gets to the heart of Nobbs - a woman who lives as a man. She comes across as more of a sad, clownish figure than a flesh-and-blood human, playing her emotions so close to the vest that it's hard to care about this stoic character.

It's problematic enough that the movie's lead characters are unlikable. But worse is the blackening of The Human Stain with a trite and forced plot, uninteresting digressions and clunky direction.

It's unfortunate that the filmmakers juxtapose those striking visuals with a warlike anthropomorphizing element.

Hampered by over-earnestness and tugs too intently at the heartstrings.

Watching the Pulitzer-prize winning novel by E. Annie Proulx on the big screen is like being on an ocean liner stuck on a glacier.

Goes overboard on the gruesome and scrimps on humor. Raimi's "Drag Me to Hell" was a much funnierchill-fest.

The thin story, which sometimes feels like a series of one-liners strung together, is wisely kept short. But the gags are funny and the characters endearing.

Mostly, Harold is a guilty pleasure that retains the anarchic charms of the original.

For at least half the movie, you need a code book a few inches thick to decipher Code 46.

While it's an energetic romp, there is more slapstick humor than wit at work here, and a good deal of borrowing from the far more clever "Monsters, Inc."

Maze Runner feels only partially formed.

The action sequences are fun, though not as exhilarating as in the 2008 original, and the dialogue can be zingy.

It's not that it's a bad film. But the bar is high, and it's lackluster and predictable, missing that alchemic blend of humor, pathos and indelible characters that give Pixar movies their brilliant shine.

Not so much a movie as an amusement park ride.

Fans of the cult TV comedy Strangers with Candy may be happy to catch any sighting of the silly escapades of Amy Sedaris' middle-aged ex-con junkie. But purists will prefer the Comedy Central episodes to this uneven film.

While the two leads emerge soulless as melodrama hovers around the edges of the tale, the era is convincingly portrayed and the melancholy mood is hauntingly rendered.

Even if the refreshing gust doesn't stay with you long, it's fun while it lasts.

Overall, Confetti is agreeable and appropriately daft, though occasionally tepid and contrived.

Unlike his tough guy roles in "Taken" or "Non-Stop," Neeson is at least given some good dialogue. And he's a jot more world-weary than kick-ass here.

The movie occasionally reveals truths about relationships that, while not earth-shattering, are nonetheless entertaining and worth considering.

Last Chance Harvey is the "Before Sunrise" for the over-45 set.

The stars make this political drama engrossing, despite its few missteps.

If moviegoers suspend their disbelief -- easy enough thanks to the diverse and talented cast, as well as Spielberg's capable direction -- they're bound to enjoy this cinematic fantasy.

The courtroom scenes emphasize the movie's potency as a David and Goliath saga. But the film's strength lies in its fact-based story of a wronged man turned crusader, played with vigor by Kinnear.

It's Complicated is vacuous overall, although attractively packaged.

There is enlightenment -- even stark poetry -- in The Passion.

An exploration of where science ends and spirituality picks up, this second feature from writer-director Mike Cahill (Another Earth) is captivating, suspenseful and thought-provoking.

The movie works mostly because of the artistry of its stellar cast and heartfelt script by writer-director Paul Andrew Williams.

Casanova is an entertaining if silly romp, with amusing dialogue, gorgeous production design and painterly cinematography. Venice, where the movie is set, has never been so breathtaking.

The film is slow in getting started and once it's underway it's only intermittently involving. It's also occasionally far-fetched.

Sherlock Holmes has been reimagined with fighting skills as potent as his intellectual acumen.

Must we import the rubbish we export?

Director Peter Berg's frenetic style heightens tension and a sense of disorientation. But some will find its chaotic quality dizzying and off-putting.

The movie is sure to appeal to fans of the show. But when quality family films, such as "Holes" and "Bend It Like Beckham," are also in theaters, why waste your time on this drivel? The answer, of course, is the kids will insist on it.

Dead-on as entertaining eye candy, a bona fide guilty pleasure -- for the first hour. But the movie loses steam and the sequences that dazzled in the beginning get overshadowed by the excesses of later scenes.

Rather than a glossy, superficial movie-star vanity project, In the Land of Blood and Honey feels like the sober, hard-hitting work of a humanitarian.