War Horse ***

Like a painting by an Old Master, "War Horse" is rich in color and detail, exquisitely composed, full of emotion, and although its subject is a horse, keenly observant of the human condition. Steven Spielberg is the master here, of course, drawing on his extraordinary grasp of the medium of film to present a touching story that feels like a classic. All of elements are superbly, beautifully rendered.

This is not to say, alas, that "War Horse" is a great movie. It's a bit too self-consciously constructed and rendered, too referential, derivative, and unoriginal. But it is a perfectly good big screen entertainment with all the trimmings, with great cinematography (by Janusz Kaminski), a stirring, tuneful score (by John Williams), and gritty, repulsive scenes of war. This adaptation of the beloved book by Michael Morpurgo, somewhat incredibly also a hit play on Broadway, faithfully presents the themes of love, friendship, perseverance, honor, courage, duty, and the futility of war. It's a film to enjoy. And take a hankie.

Tinker Tailor Soldier Spy ****

"Tinker, Tailor, Soldier, Spy" (with the commas) is a personal favorite of author John le Carré, a real life Cold War British Intelligence officer turned novelist. In this dense and suspenseful movie (without the commas) set in the '50s when East/West stakes were high, and spying was dangerous and brutal, the Secret Intelligence Service, the "Circus" in insider parlance, has been compromised by a mole. Master spy George Smiley comes out of semi-retirement to ferret out the turncoat.

In this rendition of the book the atmosphere of the time is wonderfully evoked, from dress and decor, to procedures, to the communications ecosystem of the era. Clearly but sparely written, the screenplay keeps track of numerous threads and mysteries as Smiley, coolly played by Gary Oldman in an award-caliber performance, delves into the lives of the suspects and sets his trap. His possible quarry are played by a seasoned and exceptional cast, including Colin Firth, Toby Jones, and Ciaran Hinds, along with standouts Tom Hardy and Benedict Cumberbatch. I daresay a second viewing would be rewarding, but once is enough if you remain alert.

A Dangerous Method ****

In 1906, Karl Jung (an elegant and controlled Michael Fassbender), then 30, was a rising psychiatrist in Switzerland, working at a mental hospital and developing his own theories about the mind and the unconscious. He sent his book "Studies in Word Association" to the famous Viennese psychiatrist Sigmund Freud (a cerebral Viggo Mortensen), which kindled an intense professional relationship for the next six years. "A Dangerous Method," adapted from the book of the same name and the play "The Talking Cure," concentrates on this fertile period in Jung's thinking and development, along with his personal life, principally with a patient who became his mistress and protege, Sabina Spielrein (a beautiful and fiery Keira Knightly).

"A Dangerous Method" is at once a captivating story of love and desire, an immaculate period piece, and a convincing portrayal of the collaboration and final rift of the two leading lights of psychiatry and psychology. It's heady stuff, and works, fittingly, on a number of levels. The screenplay is comprehensive and unflinching, the acting superb, the direction sure footed (by David Cronenberg), the look sumptuous and engrossing. In a sea of insubstantial special-effects popcorn I found it a satisfying full meal.

Shame ****

"Shame" is a misleading title for this story of a sex-addicted businessman and his needy sister. "Obsession" or "Damaged" might be better. Michael Fassbender delivers a perfect portrayal of Brandon Sullivan, consummate sexual player and New York business man whose fixation on sex threatens his job and substitutes for any real relationships. The incredible Carey Mulligan plays sister Sissy, and together we see the product of an upbringing whose horrors we can only imagine. British director/writer Steve McQueen gets it right, and offers a truly unflinching portrait of man spiraling out of control in a city that enables all manner of afflictions.

We Bought a Zoo ***

Coping with death of his wife and its effect on his teenage son and precocious seven year old daughter, adventurist/journalist Benjamin Mee took the highly unconventional step of buying a run-down animal park teetering on the brink of failure. The movie based on his book, "We Bought a Zoo," is warm, good-humored, and enjoyable. Matt Damon as Mee is completely believable, as is, almost unbelievably, Scarlett Johansson as the zookeeper he inherits. There is the expected conflict with his son, his doubting brother the accountant (a grounded Thomas Hayden Church), and the exacting state inspector (a suitably supercilious John Michael Higgins). The twin challenges of dealing with great loss and dealing with a teenager are well handled for a PG movie, and the couple of weepy scenes are well earned. I thought it was fine.

The Girl with the Dragon Tattoo ****

If you've read the book and seen the Swedish version, David Fincher's "The Girl with the Dragon Tattoo" is still worth seeing, not for the suspense, of course, but for the beautiful craft and art of a master. I found it better paced than Niels Arden Oplev's 2009 effort, better composed, more expressive, and with greater economy in the story telling.

As for the principals, while Michael Nyqvist looks more like the Bloomkvist described in the novel, Daniel Craig is equally convincing as the journalist, and more convincing as the object of female desire, which always seemed to me a bit of wishful projecting on the part of journalist/author Stieg Larsson.

Noomi Rapace created the role of Lisbeth Salander, and in my opinion, remains untouchable as this most fascinating character. Reportedly Rapace was ready to move on, and seems to have done well doing so, adding some much-needed life to the recent, ridiculous "Sherlock Holmes: A Game of Shadows." Which is not to say that Rooney Mara fails in any way - her performance is truly outstanding in a very difficult role. I think Fincher was right to cast a relative unknown in the role of Lisbeth rather than a better-known actress who would inevitably bring a certain amount of baggage and expectations.

If you have not read the book or seen the previous version, do see this one, but be warned that it is a dark, often violent story set in a Sweden that is far from the beautiful, bloodless IKEA society of rationality and justice you might imagine. In fact, the Sweden of the Dragon Tattoo trilogy is a lot like the film noir world at home, with serial killers, right-wing extremists, an insulated 1%, and spectacularly dysfunctional families.

The Artist ****

"The Artist"very cleverly introduces the idea of a silent movie as a popular performance in the very beginning, as we see the '20's star George Valentin (Jean Dujardin) at the premiere of his latest triumph, accompanied by a live orchestra and showing to an enthusiastic black-tie audience in an opulent movie palace. Wordlessly, he takes a bow, makes the audience laugh, brings out his dog for a bow, and finally his impatient co-star. Before you know it, the story takes off, and there's still no dialogue, just this very appealing actor and the star-struck girl he meets by chance, with an expressive and beautiful score emphasizing the action and adding to the emotional impact.

Director/writer/editor Michel Hazanavicius has mastered the conventions of the silent era to tell this comic story of an actor's struggles in the transition to talkies. Thoroughly enjoyable, this nearly wordless film delights, involves, and entertains. This silent movie is so good, in fact, that by the time the talkies arrive in the story you can understand why Valentin, the artist, does not feel the need to make the change. Berenice Bejo, as chorus girl turned star Peppy Miller, is equally talented and likable, and the magic she and Dujardin create on screen is glorious. See it and have fun!