Sherilyn Connelly

The characters aren't quite stylized enough; though they have skinny bodies and disproportionately big heads, their just-realistic-enough facial features often veer into the Uncanny Valley.

The story is serviceable enough.

Yoshiura keeps the story fairly linear, while playing with perspective and composing many stunning, vertiginous images that consider the different possibilities of being at war with gravity.

To Be Takei is never less than joyful — much like the man himself.

Viewers looking for a shoot-em-up will be disappointed, but those hankering for an old-school Italian broodfest will find plenty to soak in.

The final revelation of the big secret that haunts the family -- hinted at throughout the movie -- is more than a little maudlin, and the dedication feels like nothing so much as ass covering. Until then, After is a frequently absorbing miserablist family drama shot in appropriately chilly winter tones.

Except for the presence of the Internet, the picture feels like a retelling of an ages-old fable. In fact, Moebius is almost weird enough to be a creation myth, and that's no small accomplishment.

There's little in Slugterra: Return of the Elementals to interest nonfans of the show, and the sheer laziness would be more forgivable if not for the equally lazy use of broad ethnic stereotypes. But at least it's over in an hour.

Johnson is genuinely talented. He's often the best thing in bad movies, and Ratner's Hercules is, at the very least, pretty good.

The bickering goblins make a boffo comedy team, and while there's a recurring fart joke, it borders on classy. That's the power of good anime.

Ignacio Ferreras's traditionally animated Wrinkles is a beautiful, subtle horror movie about the rigors of old age, made all the more horrifying because it will happen to all of us fortunate enough to live a long life.

Postman Pat: The Movie is one of the best family films to come down the pike this year.

I Am I is a remarkably assured debut for director Towne, especially since she's onscreen the majority of the time, and her script eschews the rules of the standard Hollywood amnesia plot, instead following its own internal logic while not shying away from the darker implications of its premise.

Legends of Oz: Dorothy's Return fails to make us care about the characters or their journeys, and the animation is shoddy and occasionally creepy.

Bad Johnson is probably the most thoughtful movie possible about a penis that takes human form.

The whole never becomes greater than the sum of its parts.

That the movie maintains some momentum during exposition and what passes for character development is thanks to director Lester.

It may be a low bar, but Michael Tiddes's A Haunted House 2 is actually an improvement over its predecessor.

The soapy material is at odds with the largely distant catastrophe, which often feels too abstract to be a real threat.

It's occasionally imaginative, and, most importantly, never boring.

Drake Doremus's Breathe In is a star-crossed romance where your enjoyment level will depend on your tolerance for what feels an awful lot like potential statutory rape.

While it doesn't quite encompass everything, the film's still a bit too busy for its own good.

Tiger & Bunny: The Rising indulges in homosexual stereotypes that would have been regressive in the 1980s, let alone in a spin-off of a 2011 television series, and it's a damn shame.

Southern Baptist Sissies might have benefited from some judicious editing.

Like burlesque itself, Exposed is at its best when it shows rather than tells.

Bening and Harris have excellent chemistry.

Billy Kent's charming HairBrained comes from a long legacy of collegiate comedies but still finds its own identity.

After the Dark is a shaggy dog story but an intriguing and frequently beautiful one.