Frankenweenie is a love story between a boy and his dog. It is also a beautifully crafted homage to classic horror films, a study of grief and a commentary on the mysteries of science and those who narrow-mindedly fear its advances.

The spirited a cappella singing in Pitch Perfect makes a predictable, feather-light coming-of-age film irresistibly fun.

When so much of what Hollywood churns out is almost instantly forgettable, it says a lot about a film when viewers want to take time to argue, ponder and puzzle over it.

While it's an energetic romp, there is more slapstick humor than wit at work here, and a good deal of borrowing from the far more clever "Monsters, Inc."

While there are moments where this drama, about a pair of mothers hellbent on improving their children's education, is compelling and deeply moving, the film gets mired in heavy-handed cliches.

Its title notwithstanding, there's nothing that remotely approaches a narrative curve ball in this tired saga of an aging baseball scout.

Unlike many action thrillers where the viewer is fairly certain that no real harm can come to the protagonists, such is never the case here. In this gritty ride-along, we sense that anything can happen, which adds to the propulsive momentum of a riveting story.

While there are humorous and poignant moments, this angst-filled story of tender kisses, awkward dances, friends drifting apart, kindly English teachers, unrequited crushes and drug-addled partying has a nagging sense of deja vu.

An artful blend of tenderness and sharp, clear-eyed observations. Its characters talk like real people -- who also happen to be smart, appealing and thoughtful.

While it's too hastily and neatly resolved, Hello I Must Be Going is a funny, well-written, involving and emotionally honest tale.

Despite an abrupt ending and the worst title of the year, Arbitrage manages to leverage real tension from its veteran stars in one of Hollywood's first pedigreed films of the fall.

Anderson has taken pains to re-create the '50s with superb production design and gorgeous cinematography. But he seems less concerned with whether the audience is along for the ride. The story can leave viewers at sea, floundering to give meaning to what they are watching.

Chicken With Plums is not a thoroughly delectable concoction, but its exotic flavor is worth sampling.

Ironically, the dialogue in The Words is its chief failing.

Talented actors are wasted in a film that induces more cringes than chuckles as women old enough to know better act like horny sailors on leave, absorb mass quantities of alcohol and drugs, and generally behave horribly.

Alas, if you're someone who enjoys movies as, say, a two-hour escape, you may find this documentary on the death of film at digital's hands a bit too inside baseball.

A dream for fans of offbeat, well-written, subtly acted projects.

Does its share of teasing, but amounts to nothing serious.

While the sound design and spooky minimalist music add suspense, and CGI effects are duly sinister, a climactic strobe effect is more annoying than frightening.

So stunningly photographed that the blood that spurts early and often in this grisly period piece is extra-vivid red. But that hardly makes the Prohibition-era story of a trio of bootlegging brothers feel authentic.

Despite far-fetched plot points - such as a flash mob of bike messengers ready to rumble and thwart evil - it's easy to get caught up in this life-or-death two-wheeled slalom.

The handsome production design notwithstanding, The Awakening is not an elegant thriller. It's more like solemn drivel.

This fun-loving genre-bender, inspired by "Smokey and the Bandit," opens languidly, then picks up the pace. Even in the midst of cars racing, it's funny and endearing.

Unlike most rom-coms, Celeste and Jesse Forever delves into the complicated heart of relationships, exposes some painful truths and allows melancholy to co-exist alongside breezy humor.

Shines brightest during its musical numbers.

The Expendables 2 is corny, barbaric and sometimes visually murky. But humor and self-deprecating macho charm make this male pattern badness crowd-pleasing fun.

This wryly funny take on the classic ghost story, with its tributes to horror thrillers from "Halloween" to "Friday the 13th" and rich cast of characters, has distinctive Tim Burton-esque visuals, and a welcome dearth of potty humor.

Robert Pattinson must be hellbent on escaping the world of sparkly-skinned undead to take on the starring role in the leaden, obtuse and ultra-pretentious Cosmopolis.