Claudia Puig

It captures an authentic feel-good spirit and inspirational message that most Hollywood movies barely approximate.

A junior chick flick. But unlike many of its more mature counterparts, it is emotionally affecting, avoiding the manipulation and formulaic camaraderie that often spoil the genre.

Clever and often enchanting.

This follow-up seems so similar to the 1953 Disney classic that it makes one long for a geriatric Peter.

If you want a brain puzzler that will ensure a lively conversation on the way home, Nine Queens is the real deal.

The clash over the house quickly escalates into a modern-day tragedy. It is a fascinating film, handsomely adapted from the book and well directed.

Though occasionally visually inventive, Kung Fu Panda is a disappointment when it comes to matters of simple black and white: the script.

The History Boys is an erudite, sharply written film with consummate performances, but its origins on the stage are all too obvious.

Emotionally and viscerally compelling and retains a suspenseful, edge-of-the-seat quality.

Invictus, which is Latin for "unconquered," gives the poem several meanings in the context of the film. It also applies to Eastwood, who, as one of America's greatest storytellers, finds enthralling tales and fashions them with finesse and an indomitable spirit.

The most endearing character in Disney's animated superhero animated movie is a one-man Affordable Care Act. (Make that a one-robot ACA.)

The whole journey feels like a rich girl gone slumming. And for those of us along for the ride, it's a bit of a slog.

Joaquin Phoenix gives a superbly raw and excruciatingly vulnerable performance.

It certainly stays alive in this spare and intriguing film directed by Jonathan Demme, who has helmed two previous Young concert films.

A revelation: funny, fascinating and insightful.

A high-octane mind game best enjoyed by following a key character's advice: "The Source Code is a gift. Don't squander it by thinking."

Naji is an expressive actor, and so are the wonderful young non-pros who play his children.

Teacher's Pet is no "Finding Nemo," nor even "Lilo and Stitch," but it is an enjoyable family film -- particularly for younger kids -- during a time of year when such fare is lacking.

Less ambitious and more narrowly focused than the CIA saga "The Good Shepherd," Breach is a compelling, intelligent drama.

The look of the film, shot on digital video, is haunting and gritty. The cleaner, prettier look of 35mm would have detracted from the immediacy and sense of foreboding created in this artful blend of sci-fi and pseudo-realism.

Captivating and multifaceted.

Definitely not for everyone. It's a very bleak story with uneven pacing and a narrative whose jumps in time are confusing and occasionally infuriating. But the post-apocalyptic mood blends well with its uniquely stylized look and surreal story.

The result can be palpably unnerving.

This tale is both redemptive and tragic, if occasionally melodramatic.

This gritty examination of physical and psychological wounds offers a superb performance by Marion Cotillard, who speaks volumes with her eyes, and a less convincing one by her lead co-star.

If it's challenges you're after, forget cracking "The Da Vinci Code." Wordplay captures the exhilaration that comes from navigating the ins and outs of complex puzzles.

This humanistic tale, helmed by a masterful filmmaker, offers a potent — and yes, inspirational — story of triumph against huge odds.

It's hard to rationalize the vision of this dotty elderly woman with the tough-minded politician. The story lacks insight, glosses over key political issues and is unworthy of Streep's masterful performance.

It's not nearly as enjoyable as one of his rambling, meditative songs, though perhaps it is aspiring to be the cinematic equivalent. Give me "Tangled Up in Blue" any day over this incoherent, tangled trip.

What the film does best is remind us of the brilliance of Keats flame and how it was extinguished far too early.

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.

Stands apart for its raw, quiet emotion and its shattering sense of truth.

Taut, tightly paced and thrilling, with some of the best chase sequences -- whether by foot, taxi or Jeep -- in recent memory.

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

One bad idea can unravel and ruin lives in unimaginably horrific ways.That's the concept underlying the riveting Before the Devil Knows You're Dead, a sharply acted and highly entertaining morality play.

While the tension is sometimes muted, this is more than a procedural round of spy games. The deliberately paced but riveting film is made all the better because of Hoffman's breathtakingly nuanced portrayal.

Emphasizes backing up wishes with hard work. That proviso is a thoughtful message for young moviegoers.

With its chilly, atmospheric and convincing story, Wind River has the feel of a richly immersive novel. It’s not perfect.... But the mood is tense, the characters are well-drawn and director-screenwriter Taylor Sheridan has crafted some of the best dialogue of any movie this year.

With its focus on integrity, creativity and identity, Beyond the Lights is a rare intelligent romantic drama.

This is a tale not only of epic disaster but also of resilience. The Impossible is a nimbly acted drama that is at once a stellar visual achievement and a life-affirming story of familial love and courage.

Worth seeing not only because it's a highly effective thriller, but also because it's a finely tuned evocation of innocence at the mercy of adult cynicism.

Riveting and darkly comic Super Size Me is a whip-smart documentary.

Flyboys doesn't succeed as a wartime adventure story or as a period romance. Even the special effects, set in a historical context, are too ho-hum to save this over-long and tedious film.

McKay's performance is a revelation. He nails Welles' imperiousness, charm and vocal cadences, and even bears a strong resemblance to the iconic actor/director. He is thoroughly convincing as Welles and electrifies the screen when he's on it.

Depp deserves kudos for fashioning an original and outlandish if occasionally menacing character.

It is smart, witty and blessedly unpredictable.

American Sniper's wartime sequences are well-paced and harrowing, reminiscent of those in 2008's "The Hurt Locker." Like that film, Sniper can be interpreted either as a patriotic salute or as an incisive anti-war movie. In either case, it's a powerful, moving and tragic tale.

May be far more ragtag than swashbuckling, but the film is sure-footed, witty and zany fun.

Mostly, it's just wicked fun.

This sweetly eccentric and low-key buddy picture/bromance bears little resemblance to more well-known examples of the genre, such as "Lethal Weapon" or "Pineapple Express."

Earnest and understated, Gran Torino is an unflinching examination of themes that have fascinated Eastwood in most of his recent films: family, war, loss, faith and unexpected human connection.

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.

Cars is a classic American tale firing on all cylinders and fueled by organic emotion and a lively sense of adventure.

Rarely does a first-time director make as auspicious a debut as Scott Frank has done with the haunting, engrossing and intelligent thriller The Lookout.

This film highlights some of the best, and raunchiest, of his humor.

Director Todd Phillips (Old School) has a knack for extreme scenarios and outside-the-box casting. He has made a movie that is consistently funny from start to finish.

Oscar-winning animator Brad Bird seems to have accomplished the impossible with the fourth Mission: Impossible installment by injecting the 15-year-old series with newfound, breathtaking energy.

An artful blend of tenderness and sharp, clear-eyed observations. Its characters talk like real people -- who also happen to be smart, appealing and thoughtful.

A mesmerizing look at the mythic quality and anarchic spirit of the irreverent and rabble-rousing journalist.

Carell accomplishes the task of being sweet-natured without becoming cloying.

Takes a fascinating chapter in Danish history, little-known to general audiences, and presents it engagingly.

But expect a logical plot, and you'll walk out of the theater with a host of questions, mostly concerning procedural points of the alien attack.

Forget "Twilight." Fans of vampire movies are not likely to see anything more graphic, extreme or twisted than Thirst.

Notes on a Scandal may be disturbing, but it is a potent and captivating account of misconduct and betrayal.

Saoirse Ronan's talents are wasted on a foolish dual part in this dull sci-fi fantasy.

This slice of American life, as seen through the eyes of Palestinian immigrants, is nuanced, engaging and authentically observed.

There is a compelling ethical question raised skillfully that will haunt viewers. The poignant conclusion probably will incite debate.

Almost as impressive as Tatum's moves are his comic flair and breezy grace. He proved his comic talents earlier this year in "21 Jump Street" and shows them off winningly here.

What gives In the Land of Women its singular charm is the charismatic Adam Brody, the star of TV's "The OC."

One of the most extraordinary films in decades, this family drama is also one of the most ambitious in scope, having taken more than a decade to shoot. Yet it comes across as effortless and unassuming. Boyhood is an epic masterpiece that seems wholly unconcerned with trying to be one.

Richard Jenkins and Bradley Whitford are particularly funny in their middle-management roles.

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

Quinceañera is a spirited and poignant exploration of the bonds and challenges facing a Latino family and the pains of a community undergoing a transition of its own.

A rich gem expertly told in a surprisingly scant 95 minutes.

With its complex look at storytelling, imagination and the teacher-student dynamic, In the House is an elaborate cinematic fresco.

A moving documentary that informs, entertains and inspires.

One of the film's strengths is that nobody -- male, female, gay, straight or Jewish mother -- is reduced to stereotype.

If you've watched the BBC series "Planet Earth," then Earth will seem like a familiar, if stunning, global rewarming.

A rousing spectacle.

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.

Good Hair is cause for hope that Rock continues to make documentaries. His style is lively, smooth and up-to-date, like the most coveted 'do.

With Halloween bags still brimming, it's an ideal time for the inventive candy-colored fun and wicked humor that is Wreck-It Ralph.

This wryly funny take on the classic ghost story, with its tributes to horror thrillers from "Halloween" to "Friday the 13th" and rich cast of characters, has distinctive Tim Burton-esque visuals, and a welcome dearth of potty humor.

Hellboy's cheeky attitude and snarky dialogue, specifically Perlman's snidely funny lines, are the highlights.

It's equally endearing as a sweetly funny romance between two likable oddballs and as a low-tech time-travel thriller, and has something profound to say about making the most of the present.

Director Kirby Dick has gone from examining sexual assaults in the military in 2012's "The Invisible War" to investigating rapes on college campuses. His is an impassioned and well-researched film that will incite outrage.

Spectacular special effects, superbly crafted action sequences, plenty of humor and terrific performances render it a cut above most summer blockbusters.

Bening takes a complex, sometimes cloying character and makes her sympathetic - all the while pulling off a British accent with seeming ease. She single-handedly makes the movie worth seeing.

Every performance in the film is flawless.

This sci-fi thriller has an engrossing plot and a strong cast of fully drawn characters. There's even a sweet youthful love story. In other words, it's a summer blockbuster firing on all cylinders.

War Horse will likely take its place alongside beloved family films. But that doesn't mean sitting through it is pure pleasure. It's a long slog at almost 2½ hours, and occasionally it resorts to obvious sentimentality. At times it's hard to escape the sense that we're watching "Saving Private Ryan"-meets-"The Black Stallion."

A documentary that dissects the essence of comedy as well as showcases outrageous improvisational humor.

Easy A not only makes the grade, but it comes in close to 100%.

Only those with paranoid fantasies of an en masse invasion on American soil will find Red Dawn remotely powerful. The concept should have been updated to allow for more complex and surreptitious kinds of warfare.

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.

So many movies try to capture human relationships and fail miserably. A few come close. Your Sister's Sister nails it with grace, humor and winning charm.

Insidious: Chapter 2 appears to be the sum of the unusable parts from James Wan's recent haunted house feature "The Conjuring."

Fassbender's portrayal is truly haunting, and when he sobs, dramatically unraveling, it's clear he's imprisoned by his physical urges.