Claudia Puig

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

It has lighthearted moments, but is also suspenseful at the right times.

A wide-eyed 4-year-old makes a fairly convincing case for the existence of an afterlife in Heaven is for Real. But it's Greg Kinnear — with his characteristic affability — that just about seals the deal.

Rio 2 teems with colorful animated splendor and elaborate musical numbers, but its rambling, hectic, if good-hearted, story is for the birds.

Unsettling and well-acted story.

For those who puzzled over the "Twilight" hoopla here are Adam and Eve, the artiest, most sophisticated pair of vampires to hit screens in a long time.

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

Jude Law put on 30 pounds to play this slimeball. But the weightier question is, why would he bother to take this worn-out role, at any size?

An often breathlessly exciting action thriller told with humor and intelligence.

An enthralling tale of friendship that transcends biases, Ernest & Celestine offers a lovely lesson on acceptance and inclusion.

Enlivened by a strong cast, Cesar Chavez is a straightforward and inspiring account of a noble man.

Noah is no by-the-book Bible story. Think of it as a visually mesmerizing sci-fi adventure saga loosely based on the book of Genesis.

For those who don't equate sexual appetite with the intricacies of fly fishing, Nymphomaniac: Vol. 1 is more tiresome than titillating.

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.

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

Despite two strong lead performances and a welcome dose of female empowerment, this somber tale feels too familiar and formulaic.

It's an improvement on some of Perry's other films that strike a heavy-handed moralistic note. And it lacks the silly slapstick humor of his Madea movies.

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

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

Ostensibly meant to be light entertainment. If light is synonymous with preposterous, frenetic and noisy, it qualifies.

It's a maudlin, superficial exercise in obsession masquerading as a heartfelt romance and study of grief, and character development is sorely lacking.

It's a mature, intricately layered visual delight.

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

It's undoubtedly a daunting role, and Morgado captures the gentle benevolence associated with the messianic figure. He doesn't, however, project the authority, gravitas or depth of a spiritual leader.

While it takes stabs at realism, mostly in its use of cellular and computer technology, disbelief must be suspended for full immersion in this twisty airborne thriller.

The result is a generic saga with a cast of forgettable one-dimensional characters

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

Lurching back and forth through time, Winter's Tale tries to blend the supernatural and the sentimental, with a synchronous nod to elements of New York history. But this would-be magical romance flounders, hitting only dissonant chords.

What is most troubling is how this film can serve to shape perceptions for impressionable kids. Young girls and boys will think that non-stop make-out sessions is all it takes to sustain "endless love."

Moviegoers are stuck with this sci-fi thriller's bland story, murky cinematography and frenetic special effects.

The all-Lego adventure is warm and witty, showing flashes of satire.

Genial and well-intentioned, but tepid.

This thought-provoking documentary addresses the origins of Vermeer's photo-realistic art with all the suspense of a thriller.

Labor Day feels like a belabored, sappy slog.

While it has the requisite amounts of comedy and romance, it's actually more of a buddy movie. Think "Sex in the City," bro-style.

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

It's a welcome update, qualifying as the best in the series since the first film captivated and unnerved audiences in 2007.

A meticulously rendered, tasteful and moving period drama.

While the visuals are lovely to behold, this unremarkable version of the classic 18th century Japanese legend is stiff and uninvolving.

It's rambunctious and unruly, but mesmerizing.

By trying to combine fantasy and romance with goofy humor, globe-trotting adventure and feel-good inspiration, Stiller has made Mitty a mixed bag of clashing tones and facile redemption.

The movie for anyone who has dreamed of watching young dinos in love.

Farhadi's latest film is almost hypnotically compelling, spinning an intricate web of predicaments, emotional reactions and resolutions in a domestic drama that leaves the viewer reeling by its conclusion.

Though set in the future, Her is a timely, soulful and plausible love story.

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.

When it's not stalled on silly, it falls into slog territory.

Sentiment is at its heart. The legions who grew up on Disney's Mary Poppins will find it delightfully satisfying to hear snippets of its enormously catchy songs and watch its captivating creative journey.

With one of the best ensemble casts of any film this year, it's audacious, enthralling and uproarious.

As played by Oscar Isaac, he's snidely funny, world-weary and deeply sad. Though his story is enigmatic, the film itself is brilliantly acted, gorgeously shot and altogether captivating.

Bale's is a pitch-perfect, understated performance in this involving neo-noir thriller.

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.

Wonderfully enchanting wintry fare.

Graphically gruesome when it means to be a provocative look at vengeance.

Anchored by a topnotch ensemble cast, it's toe-tapping holiday fare that's also a potent reminder that family resentments and hardened hearts serve no one.

The concept's execution is sloppy, full of inconsistencies and plot holes. The situations teeter on funny, but never achieve it. And sections meant to be heartwarming feel lukewarm, far-fetched or inappropriately comical.

Compelling, poignant and gently funny.

Crowd-pleasing and compelling, most of all because of its fiery, charismatic heroine.

Anchoring the story is 9-year-old Liesel Meminger (Sophie Nélisse), whose first scenes are riveting.

Bruce Dern gives the performance of his career as the headstrong Woody in the brilliant, wisely observed and wryly funny Nebraska. What stands out is the fullness of the character, with mannerisms and expressions that make him wholly dimensional.

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

Jiro is a thoughtful engineer and a romantic, not a soldier. And The Wind Rises conveys the visual poetry of its titular reference.

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.

He lies with such conviction it's terrifying. And his galling hubris is all there for audiences to watch, absorb and puzzle over in the fascinating The Armstrong Lie.

Leaden, non-involving and filled with mind-numbing computer-generated effects.

Free Birds is pleasant enough holiday fare. And kudos to the animators for transforming a rather unattractive — or at least unappreciated — species into a cast of endearing characters.

What results is amusing, gently entertaining and might induce a tear or two.

This wrongheaded biopic that bears her name does nothing to burnish her legacy. In fact, the tedious movie lacks any insight into the characters involved, and surely would have the late Princess of Wales rolling in her grave. And it can't be easy on her sons to see their mother depicted in such a one-dimensional fashion.

Through its detailed depiction of the lead character and McConaughey's outstanding portrayal, Dallas Buyers Club enlightens compellingly without sermonizing.

The overwritten script and the ridiculous plot combine to make The Counselor a frustrating experience.

Rather than offering new blood, Carrie is a purely cosmetic revamp.

The Fifth Estate doesn't seem to be presenting the full story. Instead, it's a fairly dull thriller about a hugely influential Internet phenomenon.

The harrowing 12 Years a Slave is a mesmerizing period drama for the ages.

In this spare, unusual and intimate action thriller, Redford's expressions do nearly all of the communicating. He is the sole human cast member and utters only one word during the entire movie, which covers a span of eight days. The ocean — super-charged and becalmed — gets equal billing. If this sounds bizarre, or like an exercise in tedium, it is neither.