Susan Wloszczyna

The more curdled-than-cuddly holiday film already had offended this former copy editor even before I entered the theater. Its crime? The lack of punctuation in its name.

If a well-intentioned, occasionally funny, often moving yet nonetheless flawed "womance."

In the end, it is up to Leem Lubany, a beauty who hails from Palestine and made her debut in the 2013 Oscar-nominated foreign language film "Omar," to lend a much-needed grace note as Salima.

An intensely felt cinematic experience.

To begin with, the very premise feels off. Peter Pan isn’t a superhero and doesn’t really need an origin story, especially one that opens at a London orphanage for boys during the Blitz and borrows heavily from the “Oliver Twist” handbook.

Partisan, Cassel’s latest movie that smartly keeps his innate menace on a slow, low simmer, isn’t nearly as convincing or compelling as its star.

The Keeping Room does exceed “The Beguiled” with its progressive gender politics and morose minimalist approach. But when it comes to presenting a more watchable story, the older film would be the one that stops you from clicking to another channel if it pops up on TV. A little bit of pulp does help the message go down.

If this all sounds rather dull, that is because it is.

These guys still know how to not just hold our attention but grab it, even if their current film needs them more than they need it.

There is one highly genuine scene that feels as if it could be an outtake from “The Grand Budapest Hotel“ that nicely underlines Birkenstock’s theme of the ephemeral nature of art when it comes authenticity and originality.

Pixar might have uncovered the mysteries of our brains with “Inside Out.” But Aardman knows its way around our funny bones.

One interesting fact that comes out of Gameau’s self-abusing ordeal is that even though he has been eating the same number of daily calories—a normal 2,300—as he did before, he has packed on 15 pounds mostly around his waist.

The smart script is brave enough to venture beyond yesterday’s fleeting Twitter fodder for its pop-cultural references. As a result, Paper Towns might be the only movie to ever pay tribute to Walt Whitman’s poetry, Woody Guthrie’s music and the empowering theme song from the “Pokemon” cartoon series.

The case itself ultimately proves less an involving puzzle for the audience than a lesson for Holmes in humility.

Nothing will break your heart as much as watching this man, desperate to keep this woman in his life, waltzing around the room with a laptop in his arms while staring into her faraway eyes.

This is the Amy Winehouse few of us ever got to witness, radiating cheeky self-confidence and finding joy in sharing her considerable gifts.

Instead of building upon the welcome openness of that potentially healing father-son encounter, Max stumbles through some iffy crime-thriller territory and ends up pushing its PG rating to its limit.

Basically, Cam is one of the most entertainingly inappropriate guardians for impressionable youths since Auntie Mame.

But Live From New York! is required viewing only if the network’s own 3½-hour marathon salute to four decades of skit hilarity earlier this year was not enough of a retrospective for you.

As a distaff version of James Bond in Spy, Hollywood’s reigning empress of ha-ha Melissa McCarthy has a license to not just kill the audience with laughter but also to slay us with her acting skills.

As for the a capella performances, there is something a little prefab and not as organic as those in the first film.

Ultimately hollow as director Bertrand Bonello keeps his subject somewhat emotionally at bay, the movie is also at times quite addictive — much like Opium, the controversial name of Saint Laurent’s famous scent. As a diversion, it isn’t exactly good for you but it does provide entertainment.

The story ends up being one wrong turn after another. A GPS hasn’t been invented that could get this plot-hole-riddled script back on track.

A humorous if occasionally horrific pitch-black satire.

Although events unfold amid a gorgeous pastoral setting with rolling green hills and leafy trees, there is a silent starkness about this countryside that suggests Ingmar Bergman’s use of natural surroundings.

The two-hour-plus “Ride,” No. 10 in the series, at least offers a few intriguing new variations on the usual Sparks formula of pretty bland people falling in love against a backdrop of verdantly green landscapes most often located in coastal North Carolina.

While Mirren unquestioningly rules this roost, one cast member’s late arrival onscreen did get the audience murmuring in recognition. Namely, Lady Grantham herself — Elizabeth McGovern — who appears as a judge during one of the key moments in the legal case. One can assume that the “Downton Abbey” star took the slim part as a favor for her husband, who happens to be the director.

I kept thinking about “Lilo & Stitch” while watching Home, a decidedly disappointing effort based on the popular kid-lit book “The True Meaning of Smekday” from the already embattled folks at DreamWorks Animation.