The new globetrotting, caper-packed romp with Kermit, Miss Piggy and the rest of the lovable team certainly is just as good as, and often an improvement on, the 2011 offering.

The story fluctuates between the uninspired and the just plain weird — and then gets even weirder. It’s too basic and familiar to keep parents and older children consistently entertained, and too trippy and existential for the little ones.

Dripping in fantasy sequences and popping with vibrantly rendered set pieces, this is a monumental ego trip as well as an admirably candid therapy session, and there’s even some amusing, self-deprecating stuff as well.

The movie would have benefitted from a tight rewrite (it is too ambitious in including plot threads it doesn't have time to deal with), but Gibson's strong central performance speeds it along.

Sort of entertaining, but lacks the focus and comic energy of Judge's "Office Space" (1999), and to believe that Suzie would be attracted to the gigolo requires not merely the suspension of disbelief, but its demolition.

The kind of comedy where funny people say funny things in funny situations, not the kind of comedy that whacks you with manic shocks to force an audible Pavlovian response.

Like "House of Sand and Fog" and "Man Push Cart," it helps us to understand that the newcomers among us come from somewhere and are somebody.

Since you have probably not seen "Nine Queens," Criminal will be new to you, and I predict you'll like the remake about as much as I liked the original -- three stars' worth. If, however, you've seen "Nine Queens," you may agree that some journeys, however entertaining, need only be taken once.

As Darabont directs it, it tells a story with beginning, middle, end, vivid characters, humor, outrage and emotional release. Dickensian.

Chick Flick indeed! Guys, take your best buddy to see this movie. Tell him, "It's really cool, dude, even though there aren't any eviscerations."

Fosse’s attempt to give us Lenny Bruce as society’s victim and a martyr to noble causes never quite works, and so the movie becomes just several good scenes and a fine Hoffman performance, not a persuasive portrait of a man.

A riot of visual invention and weird humor that works on its chosen sub-moronic level, and on several others as well, including some fairly sophisticated ones.

No actor is more aware of his own instruments, and Eastwood demonstrates that in Pale Rider, a film he dominates so completely that only later do we realize how little we really saw of him.

By the time the Incredible Hulk had completed his hulk-on-hulk showdown with the Incredible Blonsky, I had been using my Timex with the illuminated dial way too often.

The Front Runner doesn’t hit us over the head with parallels to today’s political and media world. It doesn’t have to.

This performance, unlike anything Paul Dano has ever done, must have required some courage. It requires an actor to cast aside all conceits of performance, presence, charisma and even timing.

Mr. Jealousy isn't quite successful, but it does provide more evidence of Baumbach's talent.

Slice is schlock, but that’s kind of the point. It doesn’t have a tenth of the production values of, say, last week’s violent thriller “Peppermint” (and no doubt it was made for even less than a tenth of that film’s budget). But it has originality, and originality goes a long way.

Goodbye, Mr. Chips uses its budget quietly, with good taste, and succeeds in being a big movie without being a gross one. I think I enjoyed it about as much as any road show since Funny Girl.

I like the way the personalities are allowed to upstage the plot in Fighting, a routine three-act fight story that creates uncommonly interesting characters.

Adult World does have some smart, funny and wincingly painful things to say about the desire to make art vs. the desire to be famous for it.

Nearly every step of the way, Stargirl finds just the right notes to find the right side of the line between precious and lovely, between arbitrary and plausible, between serendipitous and condescendingly magical.

Luckily, there's enough of the domestic comedy to make the movie work despite its crasser instincts. One of the big surprises in the movie is Selleck's wonderful performance as the bachelor architect. After playing action heroes on TV and in the movies, he now reveals himself to be a light comedian in the Cary Grant tradition - a big, handsome guy with tenderness and vulnerability

While it’s great to see a Latino hero from the DC Universe get center stage in the form of Jaime Reyes/Blue Beetle, and the dynamic among the loving and fiercely protective extended Reyes family is the highlight of the film, this is a mostly by-the-numbers origin story with underwhelming VFX, a disappointingly cartoonish villain and a final battle sequence and epilogue that follow the pattern of a dozen or more previous superhero origin stories.

Thanks in large part to Munn’s elegant, authentic, grounded and moving performance, we’re rooting hard for Violet to find some inner peace.

The movie is a thriller, with all the usual trappings of a thriller, but the director, Jonathan Kaplan, is able to place the story in a plausible world. The performances go for unstrained realism, the settings are slice-of-life, and until the final scenes even the sicko cop seems somewhere within the realm of possibility.

In this film, Metallica elevates headbanging to matters of the head that will consume the viewer long after the fade to black.

The movie as a whole lacks the conviction of a real story. It is more like a lush morality play, too leisurely in its storytelling, too sure of its morality.