Love the Coopers - D

Diane Keaton and John Goodman

Rated PG-13, 106 minutes

Love the Coopers, but don't like their sappy, predictable movie much. Come to think of it, with a couple of exceptions, I don't like them much, either. In spite of a talented (but wasted) cast, you've seen "Love the Coopers" in every other holiday-inspired movie about family dysfunction. When four generations of the Cooper clan - led by the unhappy Charlotte and Sam Cooper (Diane Keaton and John Goodman) come together for their annual Christmas Eve celebration, a series of unexpected visitors and unlikely events turn the night upside down, leading them all toward a surprising rediscovery of family bonds and the spirit of the holiday. Directed by Jessie Nelson ("I Am Sam") and written by Steven Rogers ("Hope Floats"), the generic, saccharine time-waster that is "Love the Coopers" will make you hate the holidays, since most of it rings false - it feels about as real as those star-studded but phony Garry Marshall holiday-themed movies of late like "New Year's Eve." All of the characters are cardboard cut outs: the cranky grandpa (Alan Arkin), the slacker son/brother (Ed Helms), the spirited sister/daughter (Olivia Wilde) and the unpredictable perpetually single one (Marisa Tomei) none of which feel right, though June Squibb's crazy aunt gets in a few laughs and earnest Jake Lacy as Wilde's military man/love interest brings an honest appeal to a movie that needs it. The story sure lacks a universal appeal, and once you find out who is providing the annoying narration, then you'll know that it's all gone to the dogs (a silly, silly contrivance, just saying), and for a movie striving for family values, it has about as much diversity as a blanket of snow. The best, most memorable aspect "Love the Coopers" is the folksy, energetic score of Christmas tunes from Nick Urata and his ensemble indie folk group DeVotchKa, which is the only satisfying thing about this pat, implausible family affair. If holidays lack this much fun, you're better off being scrooge. Stay away.

The 33 - C

Antonio Banderas

Rated PG-13, 125 minutes

The 2010 Chilean Mining Disaster had the world on the edge of their seats to save some trapped miners, and a much more compelling story than the lackluster movie that tells their story in the new likable but plodding, overlong drama "The 33." Directed by Patricia Riggen ("Under the Same Moon"), it has a handful of compelling moments but unmemorable characters, due to some rather odd casting choices that hurt the movie. Disaster strikes on Aug. 5, 2010, as a copper and gold mine collapses in Chile, trapping 33 men underground. With more than 2,000 feet of rock in their way, members of a rescue team work tirelessly for 69 days to save the seemingly doomed men. Beneath the rubble, the miners, led by Mario (Antonio Banderas) and Don Lucho (Lou Diamond Phillips), begin an epic quest to survive, becoming a race against time and a test of the human spirit. The uneven effort "The 33," based on the account of the situation, "Deep Down Dark" by Hector Tobar, could've been part gritty survival story, part inspiring rescue effort, and while there are a few affecting moments in the last act, it lacks the intensity and emotional impact that a true story like this should have, on the level of say the recent "Everest," and it could've benefited from stronger directing and writing. On that note, there are two central things that hurt the movie: the sluggish, unfocused script that is about 20 minutes too long, and the miscasting of several key characters. The story below ground, with the trapped miners, is the much more involving story and both Banderas and Phillips are solid, but they're given less footage than the bland rescue team, led by the handsome Rodrigo Santoro and Gabriel Byrne or any of the banal, unnecessary backstory of a few of the miners. Even worse is the odd miscasting of several main players, namely lovely French actress and Oscar-winner Juliette Binoche as the estranged sister of one of the trapped miners (her strong French accent is hard to disguise), as well as Byrne as the chief engineer and American character actor Bob Gunton as Chilean President Pinera; blink and you'll miss another odd casting choice, James Brolin, whose part amounts to a cameo. The best part comes with the emotional rescue at the end and actually seeing all the real miners, not to mention the movie is also dedicated to Oscar-winning composer James Horner, one of the last films he composed before his death earlier this year. Most unfortunate is that the unsatisfying "The 33" fails to capture the true spirit of these honorable men, and doesn't really do them justice; you're better off reading Tobar's nonfiction novel or watching clips of the rescue.

Spotlight - A-

Rated R, 118 minutes

The "Spotlight" team

If you're familiar with Carl Bernstein and Bob Woodward's remarkable "All the President's Men" investigation to uncover the Watergate Scandal in the 1970's, you can appreciate the affecting, methodical and superbly well-acted new true story "Spotlight," which investigates corruption in the Catholic Church in Boston in the early 2000's. Directed and co-written by Tom McCarthy, actor and director of such indie hits as "The Visitor" and "The Station Agent," "Spotlight" is a fascinating, powerful look at corruption in the Church. In 2001, new Boston Globe editor Marty Baron (Liev Schreiber) assigns a team of his journalists to investigate allegations against John Geoghan, an unfrocked priest accused of molesting more than 80 boys. Led by editor Walter "Robby" Robinson, (Michael Keaton) reporters Michael Rezendes (Mark Ruffalo), Matt Carroll (Brian d'Arcy James) and Sacha Pfeiffer (Rachel McAdams) interview victims and try to unseal sensitive documents. The reporters make it their mission to provide proof of a cover-up of sexual abuse within the Roman Catholic Church. The engrossing, riveting "Spotlight" is a relevant look at what happens when bad things happen to good people, and how unfortunate it is the bad treatment comes from the church, who supposedly has the best interests of people. McCarthy's solid, workmanlike direction and script make the film work better, and it could've easily fallen into a general diatribe about the church, though he generally steers clear of that and focuses on the investigation at hand, as well as some of its challenges, including the fact that 9/11 occurred smack dab in the middle of the investigation itself, not to mention the fact that the Catholic Church was so skilled in nearly keeping it hidden. It's universally well-acted, with strong performances from Ruffalo, Keaton and McAdams as the team who uncovers the abuse; Schreiber delivers a solid performance as well, though it seems to understate Baron's contributions; interestingly enough, there is an actual "President's Men" connection, as the team had the help and support of one of its Globe editors, Ben Bradlee Jr., played by "Mad Men's" John Slattery here. Catholics won't be happy about it at all and "Spotlight" is difficult to watch, but engrossing enough to stay with you long after you leave the theater. One of the year's best films.

Miss You Already - B

Toni Collette and Drew Barrymore

Rated PG-13, 112 minutes

The honest, well-acted new dramedy "Miss You Already" doesn't pull any punches about what you'll need when you see the movie: plenty of tissues. Directed by "Twilight's Catherine Hardwicke and written by British actress and playwright Morwenna Banks and based on her BBC radio play "Goodbye," the warm chemistry and the solid performances of the leads carry it through some of its more  disease-of-the-week calculations. The movie follows two best friends, Milly (Toni Collette) and Jess Drew Barrymore), as they navigate life's highs and lows. Milly undergoes treatment to battle breast cancer while Jess tries to get pregnant. As much as I hate to say it, the solid, affecting "Miss You Already" is a calculated chick-flick, but it's also a good one, so guys prepare yourself to sit through this one as payback for sitting through the lackluster new Bond movie. You may not regret it though, given that it features two of cinema's most likable actresses, Barrymore and Collette, the latter of whom gets the far meatier sick woman role (and in one mildly shocking scene mid-film, you see her mastectomy post-op), but Barrymore has some compelling moments too as the woman torn between finally getting pregnant and helping her sick best friend. Dominic Cooper and Paddy Considine ably support the women, while a still-lovely Jacqueline Bisset gets in a few moments as Milly's vain but well-meaning actress mother. Some of it's depressing and you've seen this done many times before, but both actresses, especially Collette, are memorably good, so give the familiar and manipulative yet warm "Miss You Already" a chance, though I wouldn't recommend it if you or a family member or friend have suffered from an illness lately, as it could hit close to home.

Spectre - C+

Daniel Craig as James Bond

Rated PG-13, 150 minutes

If you go into the overlong but modestly entertaining new James Bond thriller "Spectre" expecting the energy of the most recent dazzling Bond effort, "Skyfall," you'll be greatly disappointed. Directed by Sam Mendes, who helmed that previous effort, "Spectre" will still satisfy Bond fans, but it's also the weakest Bond film of the Daniel Craig era and overall a lackluster entry in the Bond film series. A cryptic message from the past leads 007/ James Bond (Craig) to Mexico City and Rome, where he infiltrates a secret meeting, uncovering the existence of the sinister organization SPECTRE. Needing the help of the daughter of an old nemesis (Lea Seydoux), he embarks on a mission to find her. As Bond ventures toward the heart of SPECTRE, he discovers a chilling connection between himself and the enemy (Christoph Waltz, underused) he seeks. Serviceably peppered with a few decent gadgets and familiar action set pieces but bogged down by an uninteresting plot, "Spectre" has enough - barely - to stand on its own merits, though it's still not as fun or chilling as the most recent outing, going on much too long in the last act, which has not one, but two climaxes, the first of which is largely unnecessary. Other than the fact it's about 20 minutes too long and has one of the clunkiest endings of recent Bond movies (not to mention an extra, unnecessary climax), "Spectre's" biggest flaw is its disappointing villain: Waltz's criminal mastermind is one of the most milquetoast Bond villains and given such minimal footage he brings few chills and thrills to the movie. There are a handful of good sequences, including a nice car chase between the sleek Aston Martin DB-10 and sleeker Jaguar CX75, and the opening sequence set in Mexico City, though a few, such as on the ski slopes or on a train, seem all too familiar. All the gang, including Ralph Fiennes as M, Ben Whishaw as Q and Naomie Harris as Moneypenny, all ably support the still dashing Craig, though lovely French actress Seydoux is a vacuous Bond girl. Featuring the drab song "Writing's On The Wall" from pop star Sam Smith, the blandly entertaining "Spectre" isn't Bond in top form, and certainly not enough to shake or stir you.

Suffragette - B

Rated PG-13, 106 minutes

Carey Mulligan

The compelling, well-acted period piece "Suffragette" explores the women who helped pave the way for women's rights today. Directed by Sarah Gavron ("Brick Lane") and written by "The Iron Lady's" Abi Morgan, "Suffragette" mixes fact and fiction and runs through some redundant and uneven patches, especially in the last act, but it's a worthy tale to be told. The movie is about working-class laundress named Maud Watts (Carey Mulligan) in 19th century London who becomes radicalized when she meets a brave cadre of women organizing to obtain the vote, including the passionately tough Edith Ellyn (Helena Bonham Carter). They risked all they had for women's right to vote - their jobs, their homes, their children, and even their lives. The powerful "Suffragette" wears its feminist badge proudly, though it's more than just a "women's movie" but an inspiring look at the pioneers of women's rights, and evoking the feel of that day. Mulligan and Bonham Carter are both excellent in Oscar-worthy, albeit fictionalized roles that mingles with some real people, including Emmeline Pankhurst (Meryl Streep in only a brief cameo mid-film) and Emily Davison (Natalie Press); the most vivid moments aren't necessarily the bombs or the blood but the personal ones, such as when Maud's son is taken from her or when she's comforting a fellow suffragette (Anne Marie-Duff, also memorable in a supporting role). The uneven script and pacing has some patchy moments and tends to go in too many directions, making it feel more like a standard police procedural than an important human rights drama; it also leaves out the non-militant wing of the suffrage movement, the suffragists, which were also key to this movement, though the suffragette's militant tactics are more fun to watch. Even with some of its flaws, "Suffragette" is superbly acted and affecting, and a satisfying look at a still-relevant piece of history.

The Peanuts Movie - B

Rated G, 88 minutes

Only a blockhead would dislike Charlie Brown and the Peanuts gang, who are back for a new pleasantly entertaining animated outing, "The Peanuts Movie," based on the lovable Charles Schulz "Peanuts" comics. With new CG footage directed by Steve Martino ("Horton Hears a Who" and "Ice Age: Continental Drift") and co-written by Schulz's two sons Bryan and Craig along with Cornelius Uliano, "The Peanuts Movie" admittedly sometimes feels like an expanded TV special offering few surprises, but if you enjoyed those specials, you'll have a good time here too. Snoopy, with the help of his trusted pal Woodstock, (archival footage of late "Peanuts" vet Bill Melendez for both Snoopy and Woodstock) goes up against his nemesis, the Red Baron, while Charlie Brown (Noah Schnapp) tries to win the affection of the Little Red-Haired Girl (Francesca Capaldi), who has just moved to the neighborhood. There are enough nods to the original in the charming new "The Peanuts Movie," including the use of Melendez as well as Vince Guaraldi's familiar theme, not to mention bringing back all of the original gang, including Lucy, Linus, Sally, Schroeder, Peppermint Patty and Marcie, that you won't have problem with this new outing. Everyone's favorite, lovable loser Charlie Brown (aka Chuck or Charles, according to Patty and Marcie) along with scene-stealing dog and bird, Snoopy and Woodstock, earns a gold star here, thanks to the bright animation and some of the laughs provided by that aforementioned canine and yellow little friend. The thin plotting, involving Charlie Brown winning over the Little Red-Haired Girl and including a Winter Dance, some school stuff and Snoopy's daring fight against the Red Baron, seem like extended filler from their previous outings, though if you're familiar with those you'll likely be won over here too. Small kids are also likely to get more out of it than the older ones, with the exception of maybe their parents. If you need a break from Bond this weekend for a solid family film outing, the enjoyable, colorful "The Peanuts Movie," which also features a couple of peppy new tunes from pop star Meghan Trainor, is definitely you're best choice, and Schulz himself would likely approve too.