In a rom-com, there's no rom without the com. Hart and Hall give it their all.

This movie comes at you with an idea or two, as well as every available gun blazing.

You wait for months, sometimes, for a movie to show you something new. "7 Boxes" does exactly that, and while it's no more than a briskly managed bit of escapism, it's a really good example of same.

Clooney's attempt to honor unsung real-life heroes while recapturing the ensemble pleasures of some well-remembered Hollywood war pictures, notably "The Great Escape" and "The Guns of Navarone," comes off as a modestly accomplished forgery at best.

Finally! A comedy that works.

Kate Winslet has such sound and reliable dramatic instincts (That Face doesn't hurt, either) she very nearly makes something of Adele.

Small as it is, the film itself functions as a catchy, bittersweet waltz. You've heard it before, but the dancers are fun to watch.

It's nice to see a movie in love with New York City, but That Awkward Moment sets such a low bar for Jason's redemption it becomes a drag.

This is a big-hearted, absorbing documentary about a writer who kept on writing until very near the end. Anyone who cared about Roger Ebert will find it necessary viewing.

Even if you don't entirely buy this version of events, director Ralph Fiennes has given us a speculation that works as drama. It's an elegant bit of goods.

Gimme Shelter suffers from an acute case of the fakes. The speeches sound like speeches, and not good ones.

Big problem straight off: tone. The violence isn't slapsticky; it's just violent.

An average franchise re-launch.

"The Misadventurer" is more like it.

The miracle is that even with a bit of dramaturgical clunkiness The Past is fluid, intimate cinema. Few directors today can shoot in such tightly confined spaces, with such a determined control over his actors' movements, and make the drama work so well.

See the play sometime. It cooks; the movie's more of a microwave reheat.

Wahlberg remains one of our most reliable and least actorly of movie stars, innately macho but vulnerable enough to seem like a human being caught in an inhuman situation.

A delicate, droll masterwork, writer-director Spike Jonze's Her sticks its neck out, all the way out, asserting that what the world needs now and evermore is love, sweet love. Preferably between humans, but you can't have everything all the time.

The movie's benumbed by its own parade of bad behavior. Like some of Scorsese's other second-tier works — "Casino," "Bringing Out the Dead" — the gulf between virtuoso technical facility and impoverished material cannot be bridged. It's diverting, sort of, to see DiCaprio doing lines off a stripper's posterior, but after the 90th time it's like, enough already with heinous capitalistic extremes.

The film has a persistent and careful sheen. It looks good. It is, in fact, preoccupied with looking good. If this sounds like faint praise, I'm afraid it is.

Folk standards such "500 Miles," "The Death of Queen Anne" and "Dink's Song" infuse the movie, and as in the Coens' "O Brother, Where Art Thou?" T Bone Burnett has done first-rate work supervising the musical landscape. The film, I think, falls just a tick or two below the Coens' best work, which for me lies inside "A Serious Man" and "Fargo."

The whole movie, a feast of ensemble wiles and stunning hair, is juicy, funny and alive.

Maybe if I liked the first "Anchorman" a little less, I'd like Anchorman 2 a little more. Still, I laughed.

Director Hancock knows a few things about directing crowd-pleasing heartwarmers, having made "The Blind Side." This one wouldn't work without Thompson.

At its best, Hobbit 2, which carries the subtitle The Desolation of Smaug, invites comparisons to Jackson's "Lord of the Rings" threesome.

Affleck, in particular, finds something fierce and noble in uneven material and in his character's rage. He's not like any other actor in American movies.

The revenge in Oldboy is neither sweet nor sour; it's just drab.

It's entertaining, and following an old Disney tradition Frozen works some old-school magic in its nonhuman characters.