This is a lovely movie.... So lovely a film, in fact, as to be nearly tame.

It’s a tart little gem, bolstered by a bounty of clever and winning performances.

Lemmons and her cast, aided by some great music, have created an interlude sure to lift the spirit during the holiday season.

Movies like Mama are thrill rides. We go to be scared and then laugh, scared and then laugh, scared and then shocked. Of course, there's almost always a little plot left over for a sequel. It's a ride I'd take again.

With an almost circus-like score setting the tone, a supernatural touch and a terrific ensemble cast playing characters that range from the eccentric to the deeply eccentric, Monuments is at times grounded, at times almost hallucinogenic — and always smart and entertaining.

What they've done here is to recapture not only the look and the storylines of old horror comics, but also the peculiar feeling of poetic justice that permeated their pages. In an EC horror story, unspeakable things happened to people - but, for the most part, they deserved them.

The movie is all about behavior, dialogue, star power and wiseass in-jokes. I really sort of liked it.

The movie is so sincere and confused in its values that it mirrors the goofy loyalties and violent pathology of its characters.

Marooned isn't very interesting from a stylistic point of view, and the actors tend to get buried beneath the technology, but it does tell an exciting story, And that, I imagine, was all Sturges (whose storytelling includes The Great Escape and Bad Day at Black Rock) was really trying to do.

The purpose of the movie is perhaps to show us, in a quietly amusing way, that while we travel down our own lifelines, seeing everything from our own points of view, we hardly suspect the secrets of the lives we intersect with.

“Supersonic” is all about the big, yet it thrives on small moments.

This is a sweet, whimsical, low-key movie, a movie that makes you feel good without pressing you too hard.

It's pretty trashy and sometimes stupid. But there was never a moment when I wasn't entertained on one level or another.

This is a lovely tribute that will appeal to longtime fans and those who are just discovering the amazing Peanuts universe.

This is a portrait of tunnel vision. Jiro exists to make sushi. Sushi exists to be made by Jiro.

This is a good small movie, sweet and sentimental, about a kid who never really got a chance to show his stuff. The best things in it are the most unexpected things: the portraits of everyday life, of a loving mother, of a brother who loves and resents him, of a kid growing up and tasting fame and leaving everyone standing around at his funeral shocked that his life ended just as it seemed to be beginning.

This plot, recycled from Austen, is the clothesline for a series of dance numbers that, like Hong Kong action sequences, are set in unlikely locations and use props found there; how else to explain the sequence set in, yes, a Mexican restaurant?

Via the steady direction by Theodore Bogosian and the golden-throat narration from the one and only Bill Kurtis, we learn the full and amazing story of the joint one newspaper wag dubbed a “supernova in the local and national nightlife firmament.”

The Sterile Cuckoo is not as good as it should have been because it lacks consistency of tone. But parts of it are awfully good, and Miss Minnelli is one hell of an actress.

It’s nothing new for sure, but writer/director David Twohy...throws in enough entertaining touches to maintain interest — despite an overlong two-hour running time.

The film is punctuated by violence, a great deal of violence, although most of it is exaggerated comic-book style instead of being truly gruesome. Walking that fine line is a speciality of Hill, who once simulated the sound of a fist on a chin by making tape recordings of Ping-Pong paddles slapping leather sofas.

In the borderline trifling but consistently amusing and wry period piece My Salinger Year, Qualley has the opportunity to carry the story, and she delivers an effortlessly endearing performance in a literary adventure that plays like The Devil Wears Prada meets Can You Ever Forgive Me, only at lower stakes.

With Rosewater, Stewart proves he can pull back from the satirical comedy and become a thoughtful, incisive and questioning filmmaker.

So monumentally silly, yet so wondrous to look at, that only a churl could find fault.

The final act of the film is extraordinary. How unusual it is to see kids this age in the movies seriously debating moral rights and wrongs and considering the consequences of their actions.

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.

Warm-hearted and effective.

Macdonald is an absolute force as the twentysomething Patricia Dombrowski, who wakes up every morning determined and upbeat, even though her life path already looks to be a series of dead ends.