Les Misérables ****

Musicals with this much sung dialogue are exceedingly rare, and if you're not accustomed to opera or haven't seen Lay Miz before, it may take some time to adjust. Once into the rhythm, however, it's a richly rewarding experience. The performances, with the notable exception of Russell Crowe, are quite good, and some, like those of Hugh Jackman and Anne Hathaway, are award-worthy. Director Tom Hooper ("The King's Speech") had his cast sing and act at the same time for most of the movie, rather than lip synch after recording, and for me, it works. There's an immediacy to the action that miming cannot produce. I'm pleased to see such a lush and close-up version of musical theater with the occasional soaring camera high above the streets; it's very far from a filmed stage production.

This is 40 ***

An L.A. couple with two daughters reach their 40th birthdays and deal with the disappointments, struggles, and squabbles of life in their upper 5% world.  He's a struggling music distributor, she has a struggling women's wear shop, and their young adolescent and precocious pre-teen struggle with this American life. It has some fascination as a humorous look at life in a certain strata - that they both have fathers with young families is telling - but the drama lies in the fears, hidden resentments, silences that have been building up over the last 14 years. The pot is about to boil over.

The Guilt Trip **

An inventor (Seth Rogen) and his mom (Barbra Streisand), each concerned about the other being single, embark on a cross-country road trip where he hopes to sell his product to distributors. There's history here, and they both have quirks and secrets, which are revealed in due time. But it's a slight work that would have been more at home as a made-for-TV movie, or in a shorter format. Rogen and Streisand are fine, and the banter suits them both, but a fussy mom and a nerdy organic chemist make for a very sedate comedy.

Life of Pi 3D *****

Stunningly beautiful, exquisitely composed, with the most artistic use of 3D that I have every seen, "Life of Pi" is a philosophy lesson masquerading as an adventure story. Rife with spectacular disasters, both great and small, and largely spent on a lifeboat occupied by a young man and a Bengal tiger, it would seem to be a film that couldn't be made. But in the hands of Ang Lee and his CGI magicians, it's impossible to tell where live action ends and computer graphics begin, or where, for that matter, where reality ends and fiction begins.

And that's the point, in a way. Young Pi has always been a searcher, a believer in several religions and a devotee of many gods. In his shipwreck and survival he is finally able to answer the big questions he has asked all his life. The movie becomes a parable, and I dare say no audience has ever seen a more visually compelling argument.

The Hobbit: An Unexpected Journey IMAX 3D ***

In this first film of the prequel to "Lord of the Rings" a younger Bilbo Baggins is challenged by Gandalf to join him and a band of Dwarves, including their king, on a quest to reclaim their homeland from a fearsome dragon. Eventually they set off, and meet with many perils and adventures along the way.

What I liked: the time spent in realizing and exploring each world and its inhabitants, when it didn't turn into pointless stuffing to fill up nearly 3 hours. Some sequences, like the battling rock monsters, a riddle over the line with Gollum, and a bridge too far with the trolls, seemed just overblown asides in Peter Jackson's mission to make another trilogy out of a slight and delightful original book.

Costumes, set decoration, special effects, and music were all superb. I was happy to see a new generation of IMAX 3D glasses that are more substantial and that hopefully will stand up to cleaning, instead of buckling and spotting the lenses. If you're a fan of the LOTR series, then by all means go see it, but of course you've already seen it, haven't you?

Lincoln *****

One of the very best films of 2012 and a new high point in historical movie-making, "Lincoln" focuses on the last tumultuous months of the 16th President's time in office, when he struggled to amend the Constitution to abolish slavery and bring an end to the Civil War in a manner that would restore the union. This is unvarnished history and politics, where low means are employed to bring about the very highest of ends, and men of principle may tell less than the whole truth if that half truth will help set men free.

Parallels with our own times are rife, although it would be a mistake to draw only topical references from a project so meticulously researched and in development for almost 10 years. Tony Kushner, who won the Pulitzer Prize for "Angels in America," has constructed a towering screenplay, largely based on Doris Kearns Goodwin's Lincoln biography, "Team of Rivals." Steven Spielberg has assembled the very best talent to write, produce, and portray this story, perhaps most importantly Daniel Day-Lewis to play Lincoln, whose Oscar for this performance is already conventional wisdom.                                                                              

Day-Lewis's Lincoln is not your theme-park president. His Lincoln has a high-pitched voice (which carried farther than Douglas' in their famous debates) and a combination of warmth and reserve that sometimes seems odd, but oddly right for the character. Sally Fields captures the emotional and high-strung Mary, torn in so many directions and still grieving for her lost son. Tommy Lee Jones, one of many superb supporting players, brings the firebrand Thaddeus Stevens to life in his struggle to rid the union of the stain of slavery.

"Lincoln" is rich and rewarding, and one movie I would happily see again.

Silver Linings Playbook ****

In this genre-bending drama/romantic comedy, two damaged people find in each other a person they can connect with. Just out of a mental institution, former school teacher Pat (Bradley Cooper) can't let go of his illusion of getting back with his ex-wife, while young widow Tiffany (Jennifer Lawrence) feels she must offer herself to anyone and everyone. Pat is released on the condition of staying with his parents (wonderfully played by Robert De Niro and Jacki Weaver), while Tiffany has converted the garage behind her parents house into her own private dance studio.

Performances are uniformly outstanding, and the dialogue, I suspect lifted from Mathew Quick's novel of the same name, rings true not only for this Philadelphia neighborhood, but also for the off-kilter and surprisingly unfiltered truths that delusional and depressive people can say. It's a satisfying and plainly adult movie that makes you care about where these two will end up as they battle their demons and strive to help each other.

Skyfall *****

For my money the best Bond film yet, "Skyfall," behind the spectacular movie train fight, the fun-house mirrors of a Shanghai skyscraper elevator, and other iconic locations, is a more personal story centered on M and her past. It's clear from the incredible opening sequences that M (Judi Dench) is not infalible, and James Bond (the redoubtable Daniel Craig), is all too human. A specter from M's past, coldly play by Javier Bardem, wreaks revenge on MI6, and Bond and M each confront their past life in a, shall we say, explosive showdown. I especially enjoyed it in IMAX, which director Sam Mendes took some pains and expense to use extensively.

Pitch Perfect ***

"Pitch Perfect" is a refreshingly entertaining film centered on Beca (a smart and empathetic Anna Kendrick), a freshman with ideas of her own, who brings some much-needed life to a staid college a capella singing group. All of the girls in the cast can, and do, actually sing, and the arrangements are a fine mix of standards and mashups. Rebel Wilson, who was so funny in "Bridesmaids" and "Bachelorette," rounds out a hat trick of stellar turns with her portrayal of Fat Amy, who calls herself that before the "stick bitches" can do it behind her back. It's great toe-tapping fun, good laughs, with the requisite growing pains that even stick bitches must suffer.

Chasing Mavericks **

I had high hopes for this true story of a legendary surfer, since Gerard Butler, who plays the mentor,  and Elisabeth Shue, who plays the single mom of Jay Moriarity, can unquestionably act, and act well. The story and production, alas, are more on the level of a TV movie, and fail to deliver on both the coming of age drama side and what should have been spectacular surfing sequences. It's a shame, dude.

Cloud Atlas ****

I give this one four stars for effort, execution, and performances. Set in multiple times past, present, and future, with actors portraying several characters, sometimes of multiple genders, the theme of the movie of the interconnectedness of live and the survival of souls is well represented and embodied in this ambitious undertaking. It takes a bit of concentration from the viewer, but it is cleanly put together, surprisingly so for such a far-reaching tale. It's a case well made, but in the end, it's a point that seems too broad and simple, rather than deep and meaningful.

Seven Psychopaths ***

A more twisted and Hollywood-centric homage and satire of life in the unreal world of L.A., "Seven Psychopaths" follows a blocked writer (Colin Farrell) and his strange friends in the strange underworld of tinsel town. Christopher Walken is a standout as a small-time crook who makes ends meet by kidnapping dogs and returning them to their well-heeled and grateful owners. Director Martin McDonagh takes up the themes he explored in "In Bruges" to good effect. Creepy, bloody, funny, and weird, "Seven Psychopaths" is a film lovers fevered dream.

Argo ****

Fantastically, suspense-fully constructed, "Argo" tells the true story of the rescue of six American embassy personnel who managed to elude capture in the take-over the embassy during the Iranian revolution and who were hidden at the Canadian embassy. Director Ben Affleck also stars as Tony Mendes, the CIA operative who hatched the idea of having the six impersonate a film crew scouting locations. It seems like such an over-the-top caper movie that it's hard to believe it actually happened. Affleck proves himself an accomplished director as well as actor in this piece, and John Goodman and Alan Arkin lend knowing Hollywood insider performances as the producers who constructed the movie side of the subterfuge. It's kind of amazing that even though you know the ending, the movie still delivers on white-knuckle apprehension.

Looper ****

A dystopian science-fiction brain-tease of a movie, gritty and brutal, "Looper" plunges into time travel paradoxes to follow Joe, a killer for hire in a future so controlled that criminals can only eliminate their quarry by illegally sending them back in time to face his blunderbuss. But one day young Joe, masterfully played by Joseph Gordon-Levit in heavy makeup to resemble his older self, the old Joe embodied by Bruce Willis, must eliminate himself, and close the loop. But there are larger issues at work, and the chase that ensues, and the woman with the special child (Emily Blunt) bring a new urgency to the tale of one man, the repercussions through alternative futures begin to fan out. It's an original take on an old story of a mother's love, and a fun ride.

End of Watch ****

It feels like a ride-along in South Central L.A. The product of months of actual ride-alongs, the performances of Jake Gyllenhaal as Brian and Michael Peña as Mike in "End of Watch" have the feeling of the true article. Writer / director David Ayer (who wrote "Training Day") establishes that realism with footage from dash board police cruiser cameras, hand-held phone videos, and undercover cameras, an intimacy that extends even to the shots of the bad guys they deal with. I think it's one of Gyllenhaal's best performances, and Peña is truly outstanding in this story of two partners who share a dangerous job and are fast friends. Anna Kendrick does her usual wonderful job as Brians' girl friend, and America Ferrera nails a tough female cop role. It's a really good film marred by an unfortunately un-catchy title.

The Master *****

An alcoholic drifter in the 'forties (Joaquin Phoenix) seeks some kind of salvation from a charlatan with echoes of L. Ron Hubbard (Philip Seymour Hoffman). "The Master" is a detailed enigma, a story full of resonant details that don't quite add up. Full of astonishing performances, from Phoenix and Hoffman, for sure, but also from Amy Adams and Laura Dern among others, the movie resists easy classification. It's more a story to meditate on, grounded in well-observed details and dynamics of a "movement," but without a simple thesis. I think it's great filmmaking; others may find it boring and impenetrable.

Arbitrage ****

Featuring an award-caliber performance by Richard Gere, "Arbitrage" tells the story of Robert Miller, a high-flying financier on the level of Bernie Madoff. The movie deals with a period in which Miller must close a sale to contain a threat to his empire and juggle several personal crises, most of them his own doing. Susan Sarandon plays the wife who may be tiring of the games he plays. Taut and well-written, the movie builds suspense in a credible, rarified world.

The Words **

How do you make a movie about the power of the written word? There is something contradictory about using a visual medium to tell a story about writing, and the results, as here, are often disappointing. The device of having an author read his story about an author who takes someone else's story, and then learns the story inside the story, while as old as Scheherazade, sets up an interesting frame. Writer/director Brian Klugman does a fine job keeping the stories straight, differentiating the present, with its famous author (Dennis Quaid), the fictional present about the fictional author (Bradley Cooper), and the fictional author's appropriation of the work of another author (Ben Barnes as the younger and Jeremy Irons as older incarnations).

Parallels to the story in the present-day author's life raise the question: How much of this author's fiction is fiction, and how much is self-revelation? It's a conundrum better suited to a short story than a movie, I think. The assumption in the movie seems to be that authors are no more distinguishable than, say, movie directors; that creators and stylists can follow towering works of genius with mediocre pablum in a completely different voice and not be found out. It's an idea that doesn't hold up for a feature-length movie.

As a showcase for Bradley Cooper and Zoe Saldana, however, "The Words" is a success. Besides being an extraordinarily good-looking couple, they deliver convincing performances that are on a caliber with the veterans Quaid and Irons. From an acting standpoint, this is a fine way to spend an afternoon.

Lawless ****

Robot and Frank ***

In the not-too-distant future, a retired older gentleman with memory problems (Frank Langella) is living alone near a small town in upstate New York. His dutiful son (James Marsden), who tries to drive up weekly, gets him a personal assistance robot to help him tidy up and try to keep him healthy. Frank does not like the idea, but Robot (voiced by Peter Sarsgaard) does prove useful, and soon Frank has an idea about how Robot could help with a not-exactly-legal project. The movie is delightful, interesting, and heavy on what's going on with Frank rather than with the technology. It's a joy to watch Langella, who is on screen most of the time, bring this character to life. The writing is smart and often touching. Susan Sarandon appears as a sweet librarian and Liv Tyler as Frank's daughter. Robot is a character, but it's the human issues of independence, family ties and responsibilities that predominate. A very nice film.

Hit and Run ***

Refreshingly intelligent and funny, "Hit and Run" riffs on the elements of the chase movie and countless romantic comedies to produce an original, enjoyable winner. Dax Shepard ("Idiocracy," TV's "Parenthood"), who also wrote and co-directed, stars as Charlie Bronson, a man in witness protection in a small California town with a new life and a gorgeous and smart new girlfriend Annie (Kristin Bell). "Protected" by his hapless and accident-prone witness protection officer Randy (Tom Arnold), Charlie decides to break cover and return to L.A., the dangerous scene of his former life, in order to get Annie to an all-important job interview with a short and closing window. Needless to say, complications ensue, both scary and hilarious, including a dreadlocked Bradley Cooper, propelled by some of the best dialogue I've heard in a while. This little gem deserves more recognition than it's getting.

The Campaign ***

Not exactly biting satire, "The Campaign" does highlight some of the more depressing features of the America political landscape: safe seats, jingoistic empty-headed Congressmen, issue-free discourse, and limitless big money buying its way into policy. The humor is broad, but the movie is elevated by some notable talent, including Will Ferrell as the long-time incumbent, Zach Galifianakis as the lisping nebbish neophyte anointed by Republican Big Money, and John Lithgow and Dan Aykroyd as the super-rich Motch brothers, the embodiment of said RBM. The director is Jay Roach, well-known and successful helmer of other broad comedies, including "Meet the Parents," "Meet the Fockers," and "Austin Powers." Intentionally or not, this movie is a man's world, with women relegated to roles as career-wrecking bimbos or plastic trophies. The outcome of the election is realistic, but the ending of the movie is not, which I hope doubles the point about the corrupting influence of unfettered money.

The Queen of Versailles ***

On the way to making a documentary about the couple who were building the largest single-family home in America, something happened that changed the focus for filmmaker Lauren Greenfield. What happened was the stock market crash and credit crunch of 2008 that put billionaire David Siegel's time-share empire in jeopardy and halted work on his wife Jackie's dream house. The before and after picture of the the Siegels, their eight kids, and numerous employees and nannies present contrasting portraits of The American Dream, and an up-close look at how the system can create great wealth and quickly collapse if its foundation is lies. As Siegel's son from a previous marriage says in the film, "easy money was the drug" that built the Westgate empire, that led them - and their customers - to borrow more and more. When the system collapsed, the banks came after their crown jewels. Meanwhile Jackie, the main subject of the film, is forced to adapt to her new situation. But old habits die hard. It's fascinating, revolting, and often surprising how rootless these lives of the super-rich appear.

ParaNorman 3D ***

Beautifully and creepily rendered, with wonderful advances in facial expression, Laika Entertainment ("Corpse Bride," "Coraline") presents the story of Norman, a lonely youngster who can see dead people, who is called upon to save his New England town from an old curse. I loved the look, the sound, the top-notch voices, the inventive and effective use of 3D in this stop action movie. I'm not sure the final revelation and battle is as good as the rest of the film, but there are some fantastic and memorable sequences. I'm glad I saw it.

The Bourne Legacy ***

They lost me in Manila. "The Bourne Legacy" is an action-packed re-boot of the Bourne franchise, where we learn that Jason Bourne was not the only enhanced operative of a secret government program. Jeremy Renner does a fine job as Aaron Cross, an outstanding example of the program, as we learn in the prologue, when the mysterious agency turns on its own. Running from his creators, he teams up with a program researcher, Dr. Marta Shearing (Rachel Weisz), whose life is also in danger. The set up, the handlers, the ruthless action sequences are all of the caliber one would expect from the writer of the previous Bourne scripts, Tony Gilroy, who also steps up to direct this one.

But things get a little too crazy in Manila, where Aaron and Marta go to access what she needs to free him from his dependency on agency-supplied medication. Manila, the exotic-location-du-jour, presents plenty of crowded picturesque places, but the roof jumping, chases, and narrow escapes are too long and too jumbled to follow. These sequences are just not up to Bourne standards. So they lost me. It's a plausible sequel, though, with good characters and actors, and may well live to fight another day.

Hope Springs **

An OK drama about a middle-aged couple who once were in love but are no longer bed mates or soul mates. It's mostly, maybe even solely, the fault of Arnold (Tommy Lee Jones), who has adamantly settled into his routine of work, eat, and the golf channel before retiring to his bedroom. His wife Kay (Meryl Streep) is desperately unhappy, and ready to do something drastic. So she enrolls them both in a couples therapy week with a famous doctor (played straight by Steve Carell) in the quaint New England seaside town of Hope Springs. Streep gives this role her usual unstinting labor, but the script, and Arnold's character, is as heavy-handed and stark as that town name. I can see this movie acting as a springboard for some serious conversations in the older demographic it's aimed at, and who filled the theater where I saw it, but it's a so-so movie with a few small moments.

Total Recall ***

An enjoyable action movie set in a dystopian future Earth where the 99% commute from the rainy, straight-from-Blade Runner world down under, to the highly mechanized and luxurious realm (with echoes of Minority Report) of the of the 1% in the only other livable space on the planet, "Total Recall" delivers a coherent vision of a world ripe for rebellion. Colin Ferrell as factory worker Douglas Quaid (who harbors a secret past) heads an extraordinarily good-looking cast along with female foes (or are they allies?) Kate Beckinsale and Jessica Biel.

Troubled by recurrent nightmares, Quaid visits a business that provides implanted memories that seem real, only to awaken another, more violent man inside. Ferrell is fine as the confused Quaid, drawing on reflexes he does not know he has, and searching for his real identity in a struggle that could spell the end, or the triumph, of the rebellion. There is mercifully little of the obvious is it real or is it a dream? trope, a few too many narrow escapes from hails of bullets, and a truly awful "listen to your heart to know the truth" speech. The rest is good action, a visit to another world, and a mild brain teaser.

The special effects are fine, and the atmosphere well-defined. The visual quotes from Blade Runner and Minority Report are well done, and act as tributes to the inspiration of their author, also as here Philip K. Dick, whose short story "We Can Remember it for You Wholesale" was the basis for the original 1990 "Total Recall" with Arnold Schwarzenegger as well. This one is set on Earth, not Mars, and makes a more relevant ecological point for today's audiences.

Step Up: Revolution 3D ***

Graced with energy, inventive choreography, two appealing leads, and Miami for a backdrop, "Step Up: Revolution" delivers good music and dancing with a minimum of rich-girl-aspiring-dancer and working-boy-aspiring-dancer backstory. I found it very enjoyable, sometimes surprising, and all with an added punch from 3D. Channing Tatum got a boost from his turn at bat in this franchise, and it could be the same for Ryan Guzman, whose looks, talent, and chiseled abs are all of this movie.

Take This Waltz ****

"Take This Waltz" is a beautifully rendered portrait of a slow-motion seduction of young married woman who discovers how unhappy she is being married to a really sweet guy she doesn't want to hurt. This low-budget gem showcases spot-on performances from Luke Kirby as the neighbor, Seth Rogen as the comfortable and funny chef husband, and a quiet masterpiece of acting from Michelle Williams as a free lance writer discovering and exploring her feelings and her situation. Director/ writer/ producer Sarah Polley tells her story as a comedy/drama, with many well-observed details of present day relationships, set in a riot of color in the artist-haven Little Portugal section of Toronto. This movie is an impressively-crafted work from a filmmaker who clearly is going places.

The Dark Knight Rises ****

"The Dark Knight Rises" delivers on multiple levels with a larger-than-life peril to Gotham, an aging Batman ending his voluntary exile for one last heroic effort, stunning and expressive photography (much of it in IMAX), top quality performances from top-drawer talent, and white-knuckle action sequences featuring Christopher Nolan's trademark live action over CGI.

Of the actors, I have no favorite, but I particularly liked Anne Hathaway as the brilliant and coldly calculating cat burglar Selina Kyle looking for a second chance. I was disappointed that Tom Hardy as the evil Bane had a mask even more obscuring of his acting talent than the Batman costume. Joseph Gordon-Levitt, a bit older and more mature now, was superb as the orphan who became a cop, and who hopefully has a future in the franchise. Marion Cotillard drew me in hook, line, and sinker as Wayne Enterprises board member Miranda Tate. Christian Bale made me feel every creaky and damaged joint that results from a crime-fighting career without using guns. And of course Gary Oldman, Michael Caine, and Morgan Freeman delivered as usual. It is truly remarkable that Nolan is able to assemble such talent, write such compelling parts, and elicit such impressive performances from his cast. This movie is a highlight of a really good year.

To Rome With Love ***

In "To Rome with Love" Woody Allen creates four stories to paint a picture of what Rome means today. These are not intersecting stories, but parallel, mixed together like the symphony of automobiles directed by the Roman traffic cop who introduces and closes the movie. The tales are like short stories, each with a comic conceit and Allen's particular brand of humor, heavy on both absurd exaggeration and realism, and played by a fantastic collection of actors. I found it a delightful meditation on young love, art, and celebrity, all told with a decidedly sunny outlook. Very Italian, I suppose.

Beasts of the Southern Wild ****

"Beasts of the Southern Wild" presents a primal story of nature and survival in the bayou from the viewpoint of six-year-old Hushpuppy, a near-orphan living near, if not exactly with, her father, who fights to keep her world together with courage and magic. The unromantic, hand-held camera, almost documentary style of the movie contrasts sharply with the fantastical world Hushpuppy lives in, and the viewpoint of a child reveals more to us than she grasps. It's a wonderfully rich, unflinching, and fable-like telling of the progress of a tiny hero as she searches for family and meaning in a world full of huge, violent forces. A first-rate film.

The Amazing Spider-Man ****

A reboot and an upgrade from the 2002 version, "The Amazing Spider-Man" operates better on many levels, from the more techy back story, to the quality of the cast, to the energy and dexterity of the special effects, and yes, even to the two main actors, Andrew Garfield and Emma Stone. It's fast and fun, and fabulous on the IMAX screen. Hats off to director Marc Webb, who made the leap from "(500) Days of Summer" to the super-big-budget world with grace and aplomb.

Bernie ****

Usually I don't enjoy or recommend Jack Black movies. There is often something too uncontrolled, too gross to his performances that gets in the way. Not with "Bernie." This true story of small-town Texas undertaker Bernie Tiede who befriends a cranky rich widow (Shirley MacLaine) and becomes her constant companion, is a masterfully-controlled character study. Interspersed with documentary-style interviews with townspeople, both real and impersonated, the story of Bernie is fascinating, funny, and touchingly sad. Matthew McConaughey appears, believably and deliciously, as the local prosecutor upholding the law when the sentiment of the town is clearly with Bernie, no matter what he might have done to Margorie Nugent. The movie is insightful, fascinating, wry, and will leave you shaking your head in both disbelief and understanding.

Ted ****

Raunchy, irreverent, profane, drug-using, and foul mouthed, Ted is not your usual plush toy. No, he was the answer to a young boy's wish, a boy he's grown up with, and has become a decidedly bad influence upon, if you ask the boy's girl friend. In this hilarious fantasy from Seth MacFarlane (creator of "Family Guy"), the eponymous creature from Hasbro has settled into a single guy classic slacker life while his best friend John (Mark Wahlberg) struggles to grow up and settle down with the girlfriend (Mila Kunis) who is clearly better than he deserves. For MacFarlane, it's open season on pop culture, especially saccharine kids movies and rom coms. Wahlberg and Kunis deliver spot on comedic performances, and the special effects guys get a fun workout. I loved it.

Magic Mike ****

Channing Tatum does have the magic. "Magic Mike," the story of a male stripper loosely based on Tatum's early work history, tells a familiar story of the allure of easy money and easy sex from a male point of view. Playing an aspiring furniture designer who works in construction and the female fantasy world of males on display, Tatum brings his solid acting skills to the role of Mike. But there is definitely something special that happens when he's on stage. The man has an attraction and star quality that can be turned on like a switch.

Of course it's director Steven Soderberg's job to showcase that talent, if not to invent it. The story of Mike and his tutelage of a newcomer (Alex Pettyfer) whose sister he falls for presents some familiar life lessons. But Soderberg's techniques keep the story fresh. He avoids tired tropes, cuts quickly when you get the point, and makes good use of inventive camera angles. Actors are relaxed and natural, and he makes especially good use of Cody Horn, who, as the protective sister of Mike's protege, has a grounded presence that allows her to be the truth-teller in many scenes.

Other than Tatum, the standout performance comes from Mathew McConaughey as club owner Dallas. Taking the business of sleaze and false camaraderie to a new level, McConaughey creates an entrepreneur and manipulator who keeps the club cranking, looking to move his operation on to a bigger market.

This movie will attract a big, enthusiastic female (and gay) audience, but there's enough fantasy material about the life of a male stripper to interest the straight guys as well.

Rock of Ages ***

The movie version of the Broadway musical "Rock of Ages," which follows the proverbial girl singer from a small town to Sunset Strip in the '80s, where she meets a city boy who has rock dreams of his own is fun, nicely staged, and populated by lots of great tunes from the era. Julianne Hough, yes the one from "Dancing with the Stars," brings looks and sparkle to the role of the girl, but Diego Boneta as the boy doesn't manage the same appeal.

Movie veterans Russel Brand and Alec Baldwin are hilarious as the club owners barely scraping by. Catherine Zeta-Jones hits all the right notes as the anti-rock crusader and wife of the philandering mayor. But it's Tom Cruise (in picture above) who really delivers the goods as wigged-out rocker Stacee Jaxx. Cruise buffed up for the role, took singing lessons, and held nothing back from this performance. It's as full-on and high-octane as his incredible take as Hollywood producer Les Grossman in "Tropic Thunder." Musicals are notoriously risky movies to make, but this one should do fine.

Moonrise Kingdom ****

A wry storybook-style take on two twelve-year-old classmates who decide to run away together on a storybook New England island in the early 'sixties. The formal staging and self-conscious dialogue keeps the audience at an ironic remove, but there's real emotion and passion there if you think about it. I found it entirely delightful, with a dream cast that includes Frances McDormand, Bill Murray, Bruce Willis, Edward Norton, Tilda Swinton and Harvey Keitel, not to mention the two outstanding youngsters, played by Jared Gilman and Kara Hayward.

Prometheus IMAX 3D ***

"Prometheus" is a mesmerizing mix of fabulous special effects creating a fully-realized other world, outstanding acting by principals Noomi Rapace and Michael Fassbender, and some intriguing ideas about human origins and our place in the universe. Rapace ("Girl With the Dragon Tattoo" original Swedish version) plays a tough, smart, tireless survivor in the mold of Sigourney Weaver's Ripley in the original "Alien," of which this is a prequel. Fassbender plays a smart android, David, with his own secrets and motives, slowly revealed. His character and performance are a triumph.

"Prometheus" is unfortunately marred by the runny mess of those half-baked intriguing ideas, some of which directly contradict evolution and the fossil record on earth. Other gaps include an explanation for why clues on earth point to a distant planet in the anthropological record when that planet's contribution was long before. And finally, there is an unforgivable pointlessly shocking return from the grave that neither makes sense nor adds to the story. And how did we get to interstellar travel in suspended animation just 70 years from now?

Terrence Malick raised similar big questions in "Tree of Life," but was much more successful in keeping the questions serious, rather than at a comic book level. Ridley Scott here has given us a picture of a beautiful technological future and an alien tragedy, with some deflationary ideas about our origins. It's too bad it wasn't given more thought.

Men In Black 3 IMAX 3D ***

Just as winning and entertaining as the first two, "Men in Black 3" presents a twist as Agent J (Will Smith) travels back in time to the 'sixties to change history involving his partner Agent K (Tommy Lee Jones). The young Agent K is played by Josh Brolin, who is uncanny in channeling Jones. All of the familiar elements are there: grotesque aliens masquerading as humans, comic book violence, sly humor, cliff-hanging suspense, and a wonderful rapport between the two agents. I found the time-travel device a good change, and the writers had a fun proposing and disposing of the conundrums it naturally produces, and added a character who lives simultaneously in multiple parallel times just to keep everyone on their toes. It's a worth addition to the MIB canon.

Snow White and the Huntsman ***

A gritty, greasy retelling of the Snow White story, with bountiful black magic icily delivered by Charlize Theron as the evil queen, "Snow White and the Huntsman" turns the huntsman hired to kill her into her protector and ally. I liked the look of it, the atmosphere, and the special effects, which had a medieval, organic feel to them. The script and acting were fine. I even loved the dirty fingernails on Snow White, because it added some realism to this unrealistic story.

We Have a Pope ***

Bully ***

An important study of the very personal costs of bullying, which sometimes leads to the ultimate loss for parents, which led several of them to become activists. The pain is sometimes so searing it's difficult to watch. This documentary should be required viewing for teachers and students.

The Three Stooges **

There are some wacky moments in "The Three Stooges" that really capture the high energy and slapstick humor of the original trio. Sean Hayes as Larry, Will Sasso as Curly, and especially Chris Diamantopoulos as Moe capture the essence of their forebears. The plot is of course ridiculous and cliched. There are some clever cameos, including Jane Lynch as a Mother Superior and Larry David as a rather rough nun. And likewise true to form, there's a nice musical interlude, by Jennifer Hudson no less, for no good reason. Those with fond memories of the Stooges will recognize many favorite bits, and parents will appreciate the explanation at the end by the "Farrelly brothers" (wink, wink) about rubber props and how not to poke someone's eye out. It's a time-wasting Saturday afternoon kind of movie, just like the original shorts.

American Reunion **

A decade after the gang was obsessed with losing their virginity, they reune to remember the old times and catch up. Much has changed, but the old characters are here, including Stifler and his Mom, and Jim's Dad. The movie is at times amusing, and I still enjoy Seann William Scott's let-it-all-hang-out attitude and fevered attraction to older women. As you might expect, some of the group have grown up, some have secrets, and some are still the same immature destructive brats they were 10 years ago. It's an OK movie.

Friends With Kids ***

When they see what happens to the relationships of their friends when they have kids, the two best friends in the group decide they won't make the same mistake. They decide to have a kid, but remain happily single. Of course it doesn't exactly work out as they expected, and like the similarly named "Friends with Benefits," where two friends decided to have the fun of sex without the entanglements of emotions, life and love tend to happen.

Distinguished by snappy dialogue and couples you can believe live and work in New York, "Friends with Kids" is a fresh and funny examination of couples of a certain age, working through the challenges of raising kids. Director/ writer/ producer Jennifer Westfeldt is also the perfectly cast Julie, the beautiful, witty, too smart BFF of Jason, a debonaire Adam Scott, who channels Cary Grant in his handsome, wise-cracking heyday. The couples of their group include a tasty salad of types, and feature terrific performances by Jon Hamm, Kristin Wiig, Maya Rudolph, Chris O'Dowd, Megan Fox, and Edward Burns. It's an adult comedy and a welcome respite from the usual featherweight stories we see too much of.

Coriolanus ****

Bloody and violent, with staccato speeches rapid as machine gun fire, this "Coriolanus" is set in some present day generic Eastern European state where the politics of Rome overlay surprisingly well. Speeches about off-stage developments flow easily from news readers on flat screen televisions, and the plotting of spineless politicians knows no boundaries of time or age. Ralph Feinnes, who both directed and stars in this seldom seen tragedy of "Shakespeare's Rambo," establishes early on the war hero's devotion first to his craft - fighting and warfare - and secondly, if at all, to the people. It's a story of pride and revenge, and the destruction it wreaks on family and state. Feinnes is outstanding. Vanessa Redgrave reigns as his mother in the Spartan mold, Volumnia, and Jessica Chastain is luminous as his confused, devoted wife, Virgilia. Gerard Butler also gets a real role, and acquits himself well as Coriolanus' rival, Aufidius.

Mirror, Mirror **

"Mirror Mirror" features fanciful, gorgeous costumes, elaborate sets, and a comic, slightly ironic retelling of the story of Snow White and the evil queen. But this spectacle is rather hollow in the end, with cardboard cutout figures moving through tableaux on the stage, as if moved by unseen strings and magnets under the floorboards. While I admire the sheer audacity and lushness of Tarsem Singh's imagination, there is too often, as here, a tendency to dwell on the surface, the trappings rather than involve the audience. For me, nothing he has done since has matched the magical mixture of "The Fall" (2006), where flights of fantastical imaginings and fabulous fables were balanced with a real story of hurting people finding their way.

Jiro Dreams of Sushi ****

Jiro is Jiro Ono, 85-year-old master sushi chef, who has devoted his life to his 10-seat restaurant in the Tokyo subway, an establishment Michelin has awarded three stars, which means it's worth a journey to the country to eat there. Jiro is a perfectionist, well-known to his suppliers, who will offer only those fish they know will meet his standards, an exacting boss and teacher of his sons and employees, and a very hard worker. This straight-forward documentary shows us every aspect of his life, details his history, and, like the best work of the genre, shows his relationship to his city and its culture, and gives us a sense of the changes he has seen in his long career. It helps if you love sushi, but even a strictly beef and potatoes viewer will understand his attention to quality and consistency, his pursuit of a purity of experience, and an artist's love of his medium. The film, like Jiro, is an outstanding example of its kind.

The Hunger Games ***

"The Hunger Games" depicts the barbaric hunt and battle to the death of young "tributes" in a dystopian future, chosen to represent their starving districts for the entertainment of the fortunate 1% in the capital and the distraction of the poor 99% back home. As one of the approximately 11 people who have not read the book, I found it a chilling alternate universe, fleshed out convincingly and well-imagined. Many of those who have read the book have complained of the lack of detail and back story, but that is the way of all movies, and at least the author, Suzanne Collins, was involved and has a screenplay credit, which is generally interpreted as a seal of approval.

The young heroine Katniss Everdeen, convincingly played by Jennifer Lawrence, who was such a standout in "Winter's Bone" in a role that has more than a few similarities, is well-prepared for the hunting game, not by training, but by her hardscrabble life. She forms an alliance of convenience with the other tribute from her district, Peetah, a softly appealing Josh Hutcherson. Woody Harrelson as the alcoholic coach, and Stanley Tucci as a purple-haired future reincarnation of Ryan Seacrest add depth and verve to the show. I found it quite interesting, but I think fans of the book will enjoy the film most.

Salmon Fishing in the Yemen ****

When a government fisheries expert is drafted by the prime minister's office into a scheme to help a prominent sheik realize his dream of bringing salmon fishing to his desert kingdom, you might expect a bit of, ahem, swimming upstream. Ewan McGregor is the hapless functionary who must help the government, represented by an acid-tongued and very funny Kristin Scott Thomas, and the sheik's investment house, represented by a beautiful and really smart banker played by Emily Blunt (I know, type-casting). Director Lasse Hallstrom ("Chocolat," "The Cider House Rules") does a fine job with a small budget. Amr Waked ("Syriana") brings some nuance to the role of the sheik in a role studded with land mines. The chemistry between McGregor and Blunt is palpable, and the story is a small parable about how we might help people help themselves. I thought it was terrific.

This Means War **

The idea is engaging and provides for a mix of technology-heavy action with an old rom-com story: two best-friend CIA agents fall for the same girl and use their wiles in an all-out contest for her affections. But it's a difficult mix to maintain, since the fights and brawls need a little edge to avoid being totally cartoonish, but too much realism destroys the romantic comedy aura. The result is an uneven picture with some good moments, not a new model for a subset of the genre. An attractive cast of Reese Witherspoon, Tom Hardy, and Chris Pine are very entertaining, and Chelsea Handler as Witherspoon's sister gives scene-stealing advice from the other side of matrimony. "This Means War" is not a bad choice if you're in the mood for a slightly different kind of romance.