Secret in Their Eyes - C-

Rated PG-13, 111 minutes

Chiwetel Ejiofor and Julia Roberts

If the eyes are the window to the soul, then the well-acted but downbeat new drama "Secret in Their Eyes," in spite of a superb cast, is soulless. Directed and written by Billy Ray, who penned the first "Hunger Games" and the Tom Hanks hit "Captain Phillips," Secret" is a remake of the much-better and Oscar-winning 2009 Argentine film "The Secret in Their Eyes," which won Best Foreign Film that year. A team of FBI investigators, Ray (Chiwetel Ejiofor) and Jess (Oscar-winner Julia Roberts), and their District Attorney supervisor Claire (Oscar-winner Nicole Kidman), are torn apart when they discover that Jess's teenage daughter has been brutally and inexplicably murdered. Thirteen years later, Ray returns to Los Angeles after uncovering a new lead that he feels can permanently resolve the case. The flashback-heavy "Secret in Their Eyes," unlike the more affecting Argentine-version, lacks meat and complexity with an ending that's mishandled by director and writer Ray. The flashback-heavy script spends too much going back and forth without exploring some key points, such as the unrequited romance between Ray and Claire not to mention some key character motivations. The main cast, including Ejiofor and Kidman are uniformly solid, but it's the mousy Roberts who gives the film's strongest, most memorable performance, exhibiting the perfect amount of grief and pain of an anguished mother, though we don't see enough of who she really is; on that note, the disappointing final act and ending is more of a letdown than shocking, lacking an emotional build-up to it. Character actors Dean Norris ("Under the Dome"), Michael Kelly ("House of Cards"), Joe Coe and Alfred Molina round out the talented cast, and all of whom in get in a good scene or two. There are a handful of compelling moments - the scene in which Roberts discovers her murdered daughter is particularly heartbreaking - but "Secret in Their Eyes" isn't the powerhouse mystery hoped for, rather more of a simmering, standard procedural whose title is a bit misleading given how little, if anything, is mentioned about what the eyes may be hiding, in this case a great movie.

Trumbo - B

Bryan Cranston as Dalton Trumbo

Rated R, 124 minutes

The superbly acted new biographical "Trumbo" is an often fascinating slice of old Hollywood mixed with some unfortunate politics in its account of the Hollywood Blacklist in the 1940's and 50's. Directed by Jay Roach ("Game Change") and written by John McNamara, it's occasionally too preachy and is best as a behind-the-scenes look at old Hollywood dealings. In 1947, Dalton Trumbo (Bryan Cranston) was Hollywood's top screenwriter until he and other artists were jailed and blacklisted for their political beliefs. He used words and wit to win two Academy Awards and expose the absurdity and injustice of the blacklist, which entangled everyone from gossip columnist Hedda Hopper (Helen Mirren) to John Wayne (David James Elliott) as well as Edward G. Robinson (Michael Stuhlbarg), Kirk Douglas (Dean O'Gorman) and Otto Preminger (Christian Berkel). The engrossing bio "Trumbo" is most memorable for the solid performances and behind-the-scenes look at old Hollywood. "Breaking Bad's" Cranston is affecting and funny as the Oscar-winning writer who would later receive his Oscars and full credit after experiencing life on the Hollywood Blacklist, one of the most unfortunate times in U.S. history at the height of Cold War paranoia. The wobbly first act, dealing with the blacklist in documentary footage style format, is its most uneven, but becomes much more interesting once Trumbo starts writing again and becoming involved with Hollywood classics such as "Spartacus" and "Exodus." It also features a fascinating array of classic Hollywood figures that are remarkably well-played, most memorably by an engaging Mirren as Hollywood's most powerful and famous gossip columnist Hopper, along with Stuhlbarg as Robinson and unknown character actor O'Gorman as Douglas. Also part of the large cast is Diane Lane as Trumbo's long-suffering wife Cleo, whose assistance is somewhat minimized here, Elle Fanning as his frustrated daughter and comedian Louis C.K. as fellow blacklisted writer Arlin Hird. Expect an Oscar nomination for Cranston for his vivid portrayal of Trumbo, and likely for Mirren, who flits in and out and stealing all of scenes as Hopper. "Trumbo" is a satisfying, touching look at a Hollywood legend.

The Hunger Games: Mockingjay Part 2 - B

Elizabeth Banks and Jennifer Lawrence

Rated PG-13, 137 minutes

Highly charged, entertaining and bittersweet, "The Hunger Games: Mockingjay Part 2" is a fitting close to the "The Hunger Games" film series and will no doubt please the legions of "Hunger Games" followers. It's not the best in the film series, but it has enough memorable moments to win you over. Katniss (Jennifer Lawrence) stakes her claim as the leader of District 13 and leads the full-scale revolution against the brutal dictatorship of President Snow (Donald Sutherland) and the Capitol. Directed by Francis Lawrence, who directed three of the four films and co-written by Danny Strong and Peter Craig (writers of "Mockingjay - Part 1") based on Suzanne Collins' best-selling Young Adult novels, "Mockinjay Part 2" delivers a solid, compelling entry in the series, which has always been a notch above the other blander YA knockoffs such as "Maze Runner" and "Divergent," mainly because of Lawrence's affecting heroine and the smart handling of some darker themes such as revolution, identity and family with such panache and depth. The slower first act builds tension between the final showdown between Katniss and Snow, not to mention the ambitions of other key figures such as Plutarch (the late Philip Seymour Hoffman) and President Coin (Oscar-winner Julianne Moore, in great form here) then gives way to a few nice twists and turns with some exciting action sequences in a dark tunnel before the breathtaking finale when the unpredictable heroine - the always spirited Lawrence - finally delivers much needed retribution. The cast and production values are first-rate for this final installment, including the stellar visuals and energetic score from James Newton Howard; much of the cast from other installments returns for this outing too, though some are seen only briefly, with minimal footage devoted to Hamitch (Woody Harrelson) and the flamboyant Effie (Elizabeth Banks), while Stanley Tucci's colorful Caesar is only a cameo here. With some slower moments "Mockingjay - Part 2" isn't the knock-out action of the first two (my favorite of the films is still "Catching Fire") or as ponderous as "Mockingjay - Part 1" but somewhere in the middle. The satisfying "The Hunger Games - Mockingjay Part 2" is an enjoyable treat for "Hunger Games" fans, who may be sad it's all coming to an end, though the odds are in Katniss' favor that we won't soon forget her.

My All-American - C

Finn Wittrock as Freddie Steinmark

Rated PG, 118 minutes

There are dozens of true, inspiring sports stories, many of which have been made into films, some more worthy than others. The familiar, overlong but inspiring "My All-American" is one of those stories, and while you've seen it before there's a chance you'll need tissues by the end. Awarded a scholarship and a chance to play for the Longhorns, Colorado high school football star Freddie Steinmark (Finn Wittrock) sets off to Austin determined to make a difference on the Texas Longhorns team, coached by Darrell Royal (Aaron Eckhart) in 1969. He becomes a successpart of the Longhorns with a real chance to turn the struggling team around. But just when they're reveling in the success of the season, Freddie suffers an injury that leads him to a shocking diagnosis and the biggest challenge he will ever face. Directed and written by Angelo Pizzo, who wrote classics such as "Hoosiers" and "Rudy" and based on the novel "Courage Beyond the Game: The Freddie Steinmark Story" by Jim Dent, is a predictable, slightly overlong but crowd-pleasing sports tale that's peppered with a few touching moments as it tells the story of cancer-stricken Steinmark, whose leg was amputated following the famed "Game of the Century" in December, 1969 between the Texas Longhorns and the Arkansas Razorbacks. The likable film is well-acted by Eckhart as legendary coach Royal, though thirtysomething Wittrock is a tad too old as the wide-eyed but tough, talented Steinmark, who made a name for himself in just one active season with the Longhorns. The first act, detailing Steinmark's family life, is largely unnecessary to the story, and Pizzo drags out the famous Game of the Century game much too long, giving nearly 20 minutes of footage to the game. Still, the football scenes add some excitement to the story, and you better have some tissues handy for those final scenes, which give credence to Steinmark's impact on the Longhorns even today. The typical "My All-American" is hardly revelatory in terms of sports movie, but you'll at least gain some more appreciation for it. Worth a look, especially for sports fans and Longhorns fans.

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.