Frothy, forgettable comedy.

Seeing as Krampus is about the Alpine demon who punishes Christmas a-holes, this is a promising start — but alas, it’s all downhill from there, making a murky and humorless hash out of a pretty great piece of

Hard-core Hitchcock fans will not find much in the way of revelations.

One of the year’s warmest and most crowd-pleasing surprises.

The movie doesn’t rise above its music-doc formula of photo, clip, talking head. But for fans — like me — it’s a heartfelt, engrossing tribute.

Capping off the year that transgender stopped being transgressive, the story of artist Lili Elbe (Eddie Redmayne) makes for one of the year’s finest films.

By going exactly where you think it’s going, Victor Frankenstein doesn’t so much invent a fresh origins story as it essentially repeats, with a few uninteresting new details, all the same stuff we’ve seen in the other 457 Frankenstein movies.

The Good Dinosaur is no instant classic like its sublime predecessor “Inside Out,” but is modestly pleasing in its own way.

The third and weakest book in Suzanne Collins’ trilogy should never have been split into two films, but since that’s become money-grubbing standard practice for young-adult adaptations (“Twilight,” “Divergent”), here we are.

This version, flatly directed and risibly written by Billy Ray, is saddled with endless coincidences, questionably motivated characters and an utterly laughable climax.

I was searching for a metaphor to capture the experience of watching The Night Before when a character fell backward into a dumpster full of garbage bags. Thanks, guys!

This is in many ways a companion piece to Haynes’ “Far From Heaven” (2002), which remains one of my favorite films so far this century.

My All American would have done better to dig deeper in its portrayal of a man who set such a high bar for the intrinsic character of a football player. Because he’s actually the kind of example the sport could really use right now.

It’s never a good sign when the real people behind a movie’s story appear in the end credits and you’re stumped as to who’s who.

A decade later, these tabloid hall-of-famers are finally back to share the screen in By the Sea — glumly emoting in a pretentiously arty, humorless vanity production that drags along for two hours that feel like at least four.

There isn’t a lot here about her films, or great performances, but this is two hours of Ingrid Bergman, much of it rarely seen before. I’m not about to complain.

Somewhere on the axis where David Lynch, Paul Thomas Anderson and Joey Bishop intersect, a man in a Salvation Army tuxedo wanders the Mojave Desert supplying anti-comedy to every cocktail lounge and prison in his path. This is Entertainment.

This featherweight comedy from director Ben Palmer (“The Inbetweeners Movie”) is a lot more fun than many heftier, supposed rom-coms, thanks to the timing and chemistry of its leads.

An indie exercise in macho posturing disguised as a tale of grief, reminds us that losing one’s parents is psychically debilitating. But that’s about as useful as knowing that rain is wet.

Unfortunately, director Jessie Nelson (“I Am Sam”) gradually turns the script into marzipan.

Don’t expect too much of Heist — it’s a cheesy formula picture all the way — but it has solid character foundations, the occasional bright line of dialogue (“Cops, this is robbers,” Morgan says on a phone call) and a neat final twist. As throwbacks go, it’s more bearable than shoulder pads.

A likably gushy celebration of female friendship, sometimes feels like a throwback to the Drew Barrymore of the mid-’90s: At times you wonder if she and co-star Toni Collette might actually break out into a lip-sync-with-hairbrushes routine.

“A license to kill is also a license to not kill,” M lectures his new boss in the 24th James Bond film, Spectre. Well, it’s not a license to bore as much as this bloated drag manages to do.

Good grief! This painfully sincere animated feature seems aimed less at contemporary kids than nostalgic adults who might buy toys marketed for what is being billed as the 50th anniversary of the Peanuts gang for their children and grandchildren.

In the film’s most visceral scene, as the trio stands on the site of a mass grave in Lviv, Ukraine, von Wächter still can’t bring himself to admit his father’s direct culpability.

Bryan Cranston finally translates his critical acclaim for “Breaking Bad” into an Oscar-caliber performance in darkly comic Trumbo, playing an eloquent, witty screenwriter who bucked the Hollywood blacklist and triumphed.

Brilliantly acted by the year’s most carefully assembled cast, Spotlight is one of the year’s best films, showing just how hard it is to uncover painful truths.

It’s the sweet sincerity of Brooklyn that stamps it as both refreshing and nostalgic. The film is as welcome as a photo you just discovered of your mother before you were born, in which she looks prettier than you ever imagined.