An uneven but consistently compelling film that, with its roots in the horrors of World War II, generated no small amount of controversy in its native Poland when it was released there in 2012.

The problems here are more with the story, which, even at just 89 minutes, feels a touch repetitive at times.

That's not to say Muppets Most Wanted is all stuffing and nonsense. The franchise hasn't declined that much just yet. There are entertaining moments to be had here, for sure.

There are moments of depth there as well, as Anderson touches on themes of friendship and loyalty. More than anything else, though, The Grand Budapest Hotel is just a fun ride -- a wild, wonderful ride seemingly plucked out of Anderson's dream journal.

An entertaining and interesting film, and one that speaks with a reasonable degree of credibility. And while that might not make it high art, it's good enough for me.

If not for the "Fast and Furious" franchise, Need for Speed probably wouldn't exist outside of the video game series that inspired it.

Does The Wind Rises represent Miyazaki at the top of his game? No, not really. But it could be Miyazaki at the end of the game, and that alone is reason enough to appreciate the film for the things it offers rather than hammer it too hard for the things it lacks.

It keeps you guessing, it keeps the tension ratcheted up, and it offers a dose of breathless -- if sometimes brainless -- suspense.

The end result is still not a very good film, but it is one that boasts some enjoyable moments -- but only if you find yourself with two hours to kill.

What he ends up with is a film that boasts undeniably intriguing parts, but that -- unless you've just eaten some magic mushrooms of your own -- just doesn't gel as a whole, unified moviegoing experience.

These characters are so compelling that their stories are easy to get caught up in. As with "A Separation," Farhadi's drama never strikes a resoundingly false note -- which is a precious thing in movies lately -- and as such is a film that promises moving rewards.

Not only is it a searing on-the-ground, in-the-fray portrait of the heart of Egypt's ongoing revolution, but it is also a stirring tribute to the indomitable spirit of those who are risking, and in many cases giving, their lives to keep it alive.

This is supposed to be a movie about obsession. Instead it's just cupcake meets beefcake, with a big glass of milk on the side. And that's one Valentine's Day dinner you can easily pass up.

It's all fairly standard rom-com stuff.

Any improvements over the original RoboCop are mere window dressing, more a superficial function of technical advances in filmmaking than of any sort of storytelling prowess or fresh narrative ideas.

All aspects of this great story are drawn toward the middle ground of mediocrity.

12 O'Clock Boys is reminiscent of the Ross brothers' far more lyrically shot 2012 film "Tchoupitoulas," which tagged along with three New Orleans boys for a night of exploration and boundary-testing in the French Quarter. The setting is different in Nathan's film, and Nathan doesn't commit as fully as the Rosses did to visual artistry. But there are thematic similarities, to be sure.

There must also be a spark, a sense of life, a compelling reason for being. If a film doesn't have those -- which The Invisible Woman doesn't -- well, it might as well be invisible.

That's the kind of movie this is, the kind that sticks with you, that prods you to examine things. In the process, it reveals itself to be something of an emotional roller coaster -- but one well worth riding.

Once the opening credits end, it turns out The Nut Job"= is far more "Romper Room" than "Step Brothers."

Here's a film that tries to strike a "Beverly Hills Cop" balance between crime drama and screwball comedy -- but that balance, it should be noted, isn't an easy one to strike.

Even though it's a strictly no-frills, straight-forwardly shot affair, it feels overdue.

Even a flawed Spike Jonze film is a thing of beauty in its own way, and even the uneven but admirable Her is a journey well worth taking.

Not, in other words, a happy story. It is not a story of redemption or healing or finding happiness amid the despair. It is about reaping what one sows. But, damn, those performances. Damn, that dialog. Damn, that's good stuff.

While Lone Survivor is presented as a piece of hero-focused entertainment, it is a suitably sobering one in the end, and a film that is bound to stick to the ribs of audiences longer than, say, your average Superman movie.

Like everyone else in Russell's cast, Lawrence appears to be having a blast in the role. It's downright contagious.

One only wishes they were able to deliver these performances in a movie that felt more like a true celebration of Mandela's life -- and less like homework.

With all of its excess, Wolf of Wall Street might not rank up there with Scorsese's best, it sure has fun trying.