Mary Pols

The Sitter is predicated on a belief that chunky Jonah Hill, or at least the persona he presents, is secretly supercool. While it turns out to be a wisp of a movie, on that front at least, it is persuasive.

Light as a feather, the movie is at times a modest pleasure, but inconsequential.

Now that Eat, Pray, Love had lost its commas and become a movie actually starring Julia Roberts, I was no longer annoyed by how much it seemed like one; it had assumed its rightful place in the entertainment universe.

The movie looks like every other rom com, all spacious apartments and sleek, woodsy vacation homes, but it takes you through a wider range of responses to the relationships and characters than most.

Tawdry but compelling.

The glossily photographed family drama People Like Us is not without appeal, but it has a major construction flaw. It's dramatic arc is predicated on the problem of accidental incestuous attraction. Egads.

Whereas Italian fashion icon Valentino was larger than life in "The Last Emperor," Matt Tyrnauer's jazzy 2009 documentary, Saint Laurent in L'Amour Fou is mostly a rather sweet and anguished ghost.

Uneven but occasionally quite funny.

Dodging the twin minefields of preciousness and an exploitative 9/11 premise, Horn races away with the movie and makes it believably, genuinely sad.

Unlike the original, Paranormal Activity 2's pacing is uneven; it builds slowly and effectively before rushing too quickly, and at one point not particularly coherently, through the climax. But the jolts, when they come, are bigger, causing actual physical thrills and chills, at least for me.

Slick, well acted and engaging. It's also morally bankrupt--a film that makes you feel as though you've been taken for a smooth ride by the Hollywood machine and dropped somewhere very nasty.

I wanted very much for West's new movie to evoke films like "The Others" or "The Orphanage," which made me, in the moment at least, a believer in ghosts. The Innkeeper's payoff lacked that kind of oomph, and weirdly, the pairing of Luke and Claire brought movies about work relationships, like "Clerks" and "Office Space," more to mind than ghost stories.

Arthur Christmas is not ultimately a cynical movie – it comes together sweetly and rather movingly at the end – but it springs forth from a place of cynicism.

A loose but fairly snappy remake of the 1969 charmer "Cactus Flower."

Boseman is not a hugely close physical match to Robinson, except for perhaps in the power he conveys, but he’s a great choice to play the ball player, unfamiliar enough, despite a decade of small credits here and there, to feel like an athlete, not a movie star playing one.

The Guilt Trip works because we all know and like a Joyce Brewster (or dozens of them).

For every obvious turn The Help takes, there is Davis, the ideal counterweight.

Sparkle, while occasionally silly in a way that made a preview audience titter, is decent entertainment.

Black fans may hardly recognize him, because for once he plays a person instead of a walking comedy mask atop a Buddha belly.

The performances are compelling (although Jones is underused) but the thin narrative is less instructive of the strange way female friendships operate than of the way stories get recycled.

If I had a daughter of impressionable age, I'd rather have her weeping over this mildly tasteless romance than the nonsense of "Twilight."

It's a feast for the eyes, but we're still hungry.

Wanderlust, a comedy that looks way better than it actually is set amidst the dreck of late winter releases.

Even in a predictable horror film like Silent House, Olsen draws empathy like a magnet.

Where Freeman was warm but enigmatic, Perry is warm but empty.

The resulting adventure is once again lively and clever, although its creative underpinnings -- a sort of flea-market pastiche of antique fairy tales, vintage vaudeville and contemporary pop culture -- seem rather more shabby than chic.

Bettany's Darwin always has a chill or a case of the sweats, tummy ache or trembling hands. He has our sympathy initially, but the movie bathes us in such general despair that the natural instinct soon becomes a desire to tell him to buck up. We do believe in survival of the fittest, after all.

The pitch is enough to make you swoon, but the movie itself is curiously limp.