It's a decent February movie that smartly extends Washington's God-on-the-run character.

Transcending Holo-kitsch, In Darkness is often a thrilling adventure picture - as if Anne Frank had found an "Inglourious Basterd" to help her make "The Great Escape."

It's silly enough that young teens are unlikely to be drawn to it unless they've got a thing for Hudgens or want to take an early peek at Hutcherson, who will soon be seen as Peeta in "The Hunger Games." He was great as a sulky brat in "The Kids Are All Right" but in Journey 2 he comes across as wooden, dull and though not yet 20, too old for roles like these.

The Woman in Black is a welcome addition to the old canon; renouncing innovation, embracing anachronism, it's almost "The Artist" of ghost movies. To anyone who fancies throwback stories of the supernatural, there's nothing so appealing as a well-preserved corpse.

Declaration of War is about being under siege from illness, but there is light at the end of the tunnel. This modern-day Juliette and Romeo find their own tragedy, but are not poisoned by it.

There may be no role Barrymore is better suited to than that of sanctimonious environmentalist.

What's unusual about the sometimes screwy but mostly smart and always heartfelt Perfect Sense - is its search for a middle ground.

True to its grim prospectus, The Grey dwells in haunted machismo to the very end.

With its unpredictable sexual politics and quirky little hero/heroine Albert Nobbs has the edge of quinine, a peculiar taste that won't entice everyone but worked for me.

It's fun in a perverse way; the viewer gets to experience a vivid sense of what it feels like to occupy a pigeon-poop smeared piece of stone high in the sky.

Not quite in the class of the first film, Underworld 4 is still the most enlightened girl-power film of the week, nosing out Gina Carano's "Haywire" by the length of Pinocchio's proboscis.

Carano is her own best stuntwoman, but in the dialogue scenes she's all kick and no charisma. The MMA battler lacks the conviction she so forcefully displayed in the ring. She is not Haywire's heroine but its hostage.

Miss Bala is a tragedy rendered with the savviest, moviewise virtuosity. A young woman's despair, and a nation's, was never so damned entertaining.

Alas, it was George Lucas who became captivated by the Tuskegee Airmen and has, after many years as devoted producer, managed to turn their story into a feature film that falls much closer to the goofy "Hogan's Heroes" in the spectrum of World War II-focused productions than "Saving Private Ryan."

The critic in me can authoritatively declare that the film is crap. The fan in me sent his shirt to the dry cleaners for tear removal.

The performances are compelling (although Jones is underused) but the thin narrative is less instructive of the strange way female friendships operate than of the way stories get recycled.

The interplay between Wahlberg and Foster and then Ribisi is nicely done but the action in and around the cargo ship is where the movie's real fun lies. There is plenty of guy humor.

However ripe A Separation might seem for being adapted into a smart American film, Hollywood shouldn't bother. Farhadi's movie is just about perfect as it is.

The Iron Lady is a clever and oddly touching entertainment.

Pariah should be a special, important film for gay teens and their parents.

Dodging the twin minefields of preciousness and an exploitative 9/11 premise, Horn races away with the movie and makes it believably, genuinely sad.

Motion capture, which transforms actors into cartoon characters in a vividly animated landscape, is the technique Spielberg has been waiting for - the Christmas gift, or senior-citizen birthday present that he's dreamed of since his movie childhood.

All the components are there. No wonder In the Land of Blood and Honey is the most compelling, heartfelt movie Jolie has made in years. She isn't in it, but she's all over it.

Crowe has made a meretricious weepie that rouges the facts and defeats the attempts of Matt Damon, with his considerable charm and skill, to breathe some emotional truth into it. There's a word for the strenuous, shameless plucking of an audience's emotions that this movie traffics in: cornography.

Seeing Fincher's version is like getting a Christmas gift of a book you already have. This edition has a nicer binding and prettier illustrations than your beloved old paperback, but it's essentially a reproduction of the same old dragon. Dragon Tat-two.

To get serious about Alvin for a moment, there are worse things for your kid to be into.

Mission: Impossible – Ghost Protocol is no "Fast Five."

In his most painterly film, Spielberg has appropriated the lavish visual palette of John Ford movies: "The Quiet Man" for the rural settings, "The Horse Soldiers" for the war scenes. Boldly emotional, nakedly heartfelt, War Horse will leave only the stoniest hearts untouched.