Saving Mr. Banks ***

A fascinating and surprisingly emotional behind-the-scenes story about the making of "Mary Poppins," "Saving Mr. Banks" tells the story of the conflict between English author P.L. Travers and the Disney organization, and Walt himself, in the development of the movie. At the time of the movie Miss Travers had been wooed by Walt Disney for 20 years, but had never given him the rights. She feared a treacly, sentimental (even animated!) version of her beloved book. She even insisted that the sessions be tape recorded, to memorialize her preferences.

Emma Thompson captures the hard defenses and fear of Travers, while letting us see glimpses of the hurt and the circumstances that made her that way, all of which is depicted in many flashbacks to her childhood in Australia. In these sequences Colin Farrell as the charismatic, imaginative, and alcoholic father, and the young actress Annie Rose Buckley as the young Travers are standouts.

Tom Hanks does a fine job as a sturdy, affable, persistent Walt Disney, who finally wins the trust of the author. Director John Lee Hancock ("Snow White and the Huntsman," "Blindside") plays up the emotions, especially in the Australian scenes. Supporting roles are all good, especially Paul Giamatti as Travers' driver. Stick around for the credits to see photos of Disney and Travers et al, and hear some of the taped session where she bosses the writers around like a school marm.

The Secret Life of Walter Mitty ***

"The Secret Life of Walter Mitty" starts off well. The exposition of Walter's rather boring existence keeping track of the photos for Life magazine, tellingly entitled "negative assets," and the daring and imaginative reveries that he is prone to, are well presented and engaging. Suddenly Walter is swept up into a real life adventure and interesting, exciting things start to happen. Then the movie hits a wall and deflates. It manages to pick itself up somewhat, but there's so much scurrying around tying up loose ends that it really drags. The ending is fine and pretty much what you knew would happen all along, but the promise of the first third is unfulfilled.

The fault I think has more to do with the script than with Ben Stiller's direction. Stiller is fine in the title role, and I liked seeing Christine Wiig in a warm straight love interest part. The minor characters are a colorful lot, and often quite funny. Special effects and photography are outstanding, especially the far-flung location sequences.

The Wolf of Wall Street ****

Does a movie about excess have to be three hours long? That was my worry facing the prospect of sitting through a 17-minute string of previews and a Scorsese-directed work that I knew would have a flow and a rhythm I wouldn't want to interrupt. As it turned out, by skipping the last preview and employing a judicious use of movie house liquids, it was a thoroughly enjoyable experience, with good content in every frame.

The world of "The Wolf of Wall Street" is full of excess and built on greed, not trust. This was colorfully explained to the rookie Jordan Belfort, who wrote the book about his career that this film depicts, by his first boss Mark Hanna (an intense, cynical, and loopy Mathew McConaughey). Belfort "smiles and dials" until he's paid his dues and passed the exam, ready to be officially a broker.

Then, on his first day as a broker, October 19, he's greeted by the crash of '87. By the end of the month stock markets worldwide had lost more than 20% of their value and he was out of job. Desperate to be the millionaire he promised his wife he would be, he stumbles into a penny stock boiler room in a strip mall. When he learns that commissions are 50%, not 3% for blue chips, he dives in. His sales skills are quickly legendary and he's making great money. With encouragement from an admirer, he forms his own firm.

That's the beginning, and through it all Leonardo DiCaprio, who narrates as well as enacts the whole wild, sordid story, pulls us along, seduces with his charm, swagger, daring, and the honesty of post-conviction hindsight. DiCaprio's skills as an actor make him the perfect choice for this role: a salesman who can play the role while not believing it, but who is so convincing that he can get caught up in his own narrative, as Belfort does in a key scene speaking to his employees.

The excess - drugs, hookers, extravagant parties, expensive suits, the jewelry, baronial houses, luxury yachts - is all on display. But so is the personal side, the good and the bad, the first marriage, the second marriage, the loyalty to the friends and associates, the shocking hurting behavior. It's all on view, in the typically seamless and immersive style I expect from director Martin Scorsese. It's fascinating, funny, and repulsive all at once, and a great portrait of a master salesman and the seamiest side of Wall Street.

Inside Llewyn Davis ****

In the winter of 1961, mired in the time before Dylan, aspiring folk singer Llewyn Davis deals with the times, the scene, and the fraying strands of his life in New York. It's a a fascinating, involving, if not uplifting look at a slice of popular American culture and a man caught up in it. Oscar Isaac provides an amazing performance as Davis. And the writer/directors Coen brothers have given us another intricate and well-crafted work that is well worth your time.

Philomena ****

This is the true story of Philomena Lee (Judy Dench) and her search for her son, who she gave up fifty years earlier when she was an young unwed mother taken in by a convent in Ireland. Well-known television reporter Martin Sixsmith (Steve Coogan), casting about for an assignment, becomes interested in her "human interest" story. And so begins the search for lost Anthony, a search that will take them to the United States, into the secrets of Washington, D.C. and the highest levels of government, with an outcome neither thought possible.

Dench is so grounded and true to her character that you feel you've known her for years. She richly deserves the recognition that will come from this role. Coogan, who has a producing and writing credit as well as the prime mover role, is at the top of his game. He has seldom looked better or been more convincing as the jaded journalist who becomes determined, sometimes despite himself, to ferret out what really happened and bring Philomena some closure. It's a very satisfying and emotional motion picture.

American Hustle *****

David O. Russell's take on the Abscam scandal of the '70s, when the FBI hired a con man to catch public officials taking bribes, including members of Congress, captures the times and the hustles in a character-driven, often hilarious, romp. This is the movie that "12 Years a Slave" has to beat for the best picture Oscar.

The cast is amazing and never strikes a wrong chord. Bradley Cooper is the preening, ambitious FBI agent who keeps pushing the boundaries and looking for bigger fish to catch in his net. The con couple are played by an overweight Christian Bale and a steamyAmy Adams, smart swindlers who get caught and have to help the FBI to get reduced charges. Jennifer Lawrence is Bale's less than smart solipsistic suburban wife, a manipulative wild card in her husband's schemes. Jeremy Renner turns in an earnest performance as a good-hearted mayor who gets caught up in the scandal.  All of these performances are award caliber, and writer/director Russell, who you know for "Silver Linings Playbook" and "The Fighter," constructs the best framework and dialogue to make it all happen. "American Hustle" is a great big fun movie for adults that sheds some light on history and people.

Frozen ****

"Frozen" is a lovely, lively, and tuneful animated movie from Disney based on elements from Han Christian Andersen's "The Snow Queen." In this version one royal sister, Elsa (voiced by Idina Menzel), heir to the throne, turns all she touches into ice. Her younger sister Anna (Kristen Bell) does all she can think of to lift the curse, and enlists the aid of Kristoff (Jonathan Groff) and an animated snowman named Olaf (Josh Gad).

Young princess viewers especially will enjoy the stories of love, flirtations, and family, while young princes will like the adventure. All will like Olaf's slapstick antics, and adults will find a lot to appreciate, from catchy if not timeless songs to a charming and inventive visual style.  "Frozen" seems destined to be a new classic in the Disney library, with the potential to delight young viewers over and over again. Looks like a shoo-in for the best animated feature come award time.