Grudge could have saved itself with a rousing finale, but the buildup is so tedious you just want the fight to end.

It's rambunctious and unruly, but mesmerizing.

By trying to combine fantasy and romance with goofy humor, globe-trotting adventure and feel-good inspiration, Stiller has made Mitty a mixed bag of clashing tones and facile redemption.

The movie for anyone who has dreamed of watching young dinos in love.

Farhadi's latest film is almost hypnotically compelling, spinning an intricate web of predicaments, emotional reactions and resolutions in a domestic drama that leaves the viewer reeling by its conclusion.

Though set in the future, Her is a timely, soulful and plausible love story.

The movie cleverly spoofs the 24-hour TV news cycle, as well as sexism and racism in the workplace. Not every scene is equally funny, of course, but most of the comic antics generate laughs.

When it's not stalled on silly, it falls into slog territory.

Sentiment is at its heart. The legions who grew up on Disney's Mary Poppins will find it delightfully satisfying to hear snippets of its enormously catchy songs and watch its captivating creative journey.

With one of the best ensemble casts of any film this year, it's audacious, enthralling and uproarious.

As played by Oscar Isaac, he's snidely funny, world-weary and deeply sad. Though his story is enigmatic, the film itself is brilliantly acted, gorgeously shot and altogether captivating.

Bale's is a pitch-perfect, understated performance in this involving neo-noir thriller.

Sometimes it's the most remarkable and heroic figures whom movies can't seem to get right. Such is the case with Mandela: Long Walk to Freedom, a biopic that is more dutiful than illuminating.

Wonderfully enchanting wintry fare.

Graphically gruesome when it means to be a provocative look at vengeance.

Anchored by a topnotch ensemble cast, it's toe-tapping holiday fare that's also a potent reminder that family resentments and hardened hearts serve no one.

Homefront is what "Breaking Bad" may have resembled had Sylvester Stallone written the TV show.

The concept's execution is sloppy, full of inconsistencies and plot holes. The situations teeter on funny, but never achieve it. And sections meant to be heartwarming feel lukewarm, far-fetched or inappropriately comical.

Compelling, poignant and gently funny.

Crowd-pleasing and compelling, most of all because of its fiery, charismatic heroine.

Anchoring the story is 9-year-old Liesel Meminger (Sophie Nélisse), whose first scenes are riveting.

Bruce Dern gives the performance of his career as the headstrong Woody in the brilliant, wisely observed and wryly funny Nebraska. What stands out is the fullness of the character, with mannerisms and expressions that make him wholly dimensional.

Only a few charming tidbits are nestled snugly in this over-stuffed Christmas stocking.

Jiro is a thoughtful engineer and a romantic, not a soldier. And The Wind Rises conveys the visual poetry of its titular reference.

It's an oft-told tale, but director Mike Newell's handsome version of Charles Dickens' epic novel is marked by strong performances, well-developed characters and gorgeous cinematography.

He lies with such conviction it's terrifying. And his galling hubris is all there for audiences to watch, absorb and puzzle over in the fascinating The Armstrong Lie.

Leaden, non-involving and filled with mind-numbing computer-generated effects.

Free Birds is pleasant enough holiday fare. And kudos to the animators for transforming a rather unattractive — or at least unappreciated — species into a cast of endearing characters.