Legend - C+

Rated R, 131 minutes

Tom Hardy as The Kray Twins

The modestly entertaining, well-acted crime drama "Legend" is an uneven, flawed look at actual gangsters in London. Directed and written by Brian Helgeland, the Oscar-winning writer of  "L.A. Confidential" and "Mystic River," the movie has some narrative and tonal issues, but benefits from the superb performance of its lead actor. The movie tells the true story of the rise and fall of London's most notorious and dangerous gangsters, Reggie and Ron Kray, (both portrayed by Tom Hardy) who were perpetrators of organized crime in the East End of London in the 1950s and 60s. If it weren't for Hardy's engaging turn as the Kray's, "Legend" wouldn't be as near as compelling. There are a number of flaws with the narrative, especially when it meanders in the second act with various subplots involving Reggie's brief marriage to Francis (the lovely Emily Browning from "The Host"), diluting the more interesting crime saga this was meant to be. Helgeland takes considerable cinematic license with the Kray's story, overstating Francis' role in the twins lives (in reality the marriage lasted only 6 weeks) and in one of the movie's more confusing points, has her narrating the story. What could've been a dark and gritty tour de force seems a little tame, enhanced by the strong, albeit often hammy turn from Hardy as both twins; on this note, while Hardy is excellent Helgeland doesn't seamlessly integrate their scenes together from a technical standpoint, often awkwardly having them on separate ends of the room or in different scenes altogether, detracting from the impact and flow of the movie. "Legend" is a bit of a disappointment, but is held together by the always watchable Hardy, who seems to have fun as the twins with two very different approaches to crime and business.

Creed - B+

Rated PG-13, 132 minutes

Michael B. Jordan and Sylvester Stallone

The familiar but exhilarating, crowd-pleasing boxing drama "Creed" is a knockout. A spinoff of the "Rocky" films and will make you believe in the underdog again and remind you why film audiences have been enamored with Rocky's story since we were first introduced to him in 1976 and how he carried off the Oscar for Best Picture that year. Adonis Johnson (Michael B. Jordan) never knew his famous father, world heavy weight champion Apollo Creed, who died before he was born. Still, there's no denying that boxing is in his blood, so Adonis heads to Philadelphia, the site of Apollo Creed's legendary match with a tough upstart named Rocky Balboa (Sylvester Stallone). Rocky sees in Adonis the strength and determination he had known in Apollo - the fierce rival who became his closest friend. Directed and written by Ryan Coogler of "Fruitvale Station" fame, "Creed" returns Rocky and company to their former glory with this inspiring, gritty outing that finds them in a new era with some of the same challenges as before. Co-produced by Stallone with his original "Rocky" producers Irwin Winkler and the late Robert Chartoff, it helps that "Creed" finds its step with Coogler at the helm, as he brings a fresh perspective to this tale that needed some new energy, not to mention his engaging "Fruitvale Station" star Jordan, whose star should get a lot brighter after his winning turn as Apollo Creed's determined son, the son he never knew. Tessa Thompson as his love interest, Tony Bellew as his feared British rival and Phylicia Rashad as his mother figure all have good moments, though the movie's most compelling moments belong to the Italian Stallion himself, Sylvester Stallone, now an aged restaurant owner with grayer hair, a slower step and reading glasses. This was the role Stallone created and seemingly born to play and it finds him in his element (we'll just forget those stinky "Expendables" movies of late) though now in Mickey/Paulie mode, and it wouldn't surprise me if he garnered accolades for the role - some have even mentioned a Best Supporting Actor Oscar nomination - and once you see the challenges Rocky has to face this time (illness) you might agree too. "Creed" has many calculated twists, turns and familiar montages that you'll likely predict before they appear all going on a little too long, but that fast-paced final act will take your breath away, and stay for the ending as Rocky climbs those steps one more time. "Creed" is a winner and most importantly, you'll feel good cheering for the underdog again.

The Good Dinosaur - B-

Rated PG, 100 minutes

"The Good Dinosaur" is the other Disney Pixar film for this year, and the lesser one as well, with the unfortunate distinction of being released in the same year as the vastly superior "Inside Out." The uneven but enjoyable "Dinosaur" is painted on a slightly different Pixar palette, a very familiar and simpler one but still entertaining, especially for the very young set. "The Good Dinosaur" takes you on an epic journey into an alternate world of dinosaurs where an Apatosaurus named Arlo (Raymond Ochoa) makes an unlikely human friend he names Spot (Jack Bright). While traveling through a harsh and mysterious landscape, Arlo learns the power of confronting his fears and discovers what he is truly capable of. The alternate world of "The Good Dinosaur," in which dinosaurs have somehow survived the extinction, is a visually rich, predictable look at family, bravery and survival, all themes covered by Pixar before with sturdier characters and story. Directed and co-written by Pixar animator and voice actor Peter Sohn, "The Good Dinosaur" was scheduled for release last year but delayed due to story problems, which show particularly in the problematic middle act that oddly embodies more Old Western sensibilities than the Stone Age. As well, it may take some adjustments given the faux realism of the backgrounds that appear if the characters are walking around in front a screen, which only enhances its cartoony aspects, not to mention those landscapes are clearly modeled after California and Arizona. Still, even with its story and character flaws, there are some tender moments and ones of beauty too that only Pixar can accomplish with so much skill (yes, those fireflies are pretty cool to watch), and it has a stellar voice cast including the leads as well as Jeffrey Wright, Anna Paquin, Francis McDormand and the very familiar Sam Elliott. Part "Ice Age," part "Croods" with a little "An American Tale" thrown in, "The Good Dinosaur" is a lesser but still pleasant Pixar entry the whole family will enjoy. It comes with a sweet, memorable animated Pixar short "Sanjay's Super Team" directed by Pixar animator Sanjay Patel.

Victor Frankenstein - C-

James McAvoy and Daniel Radcliffe

Rated PG-13, 109 minutes

The ineffective, unmemorable new science fiction horror film "Victor Frankenstein," loosely based on Mary Shelley's iconic 1818 novel "Frankenstein," is akin to spending hours building a model airplane, becoming disgusted with it and throwing it in the trash, wasting all that time spent. Modestly entertaining, "Victor Frankenstein" still feels like a waste of time, it starts with an interesting backstory and a few compelling moments, though the sum of its parts doesn't add up to much, particularly its baffling, clunky last act. The film is actually told from Igor's perspective and shows the troubled young assistant's (Daniel Radcliffe) dark origins and his redemptive friendship with the young medical student Victor Frankenstein (a scowling James McAvoy). Eventually, their experiments get them into trouble with the authorities, and Dr. Frankenstein and Igor become fugitives as they complete their goals to use science to create life from death. "Victor Frankenstein," directed by Paul McGuigan ("Push") and written by Max Landis ("Chronicle") is a slick, well-cast but pointless re-imagination of Shelley's story, and in the end it rather misses the point: it blathers on about God, the creation of life and the pain it brings, though the monster itself, so memorable in other versions, seems largely an afterthought here. The sets, costumes and visuals are all first-rate, and the McAvoy-Radcliffe chemistry is palpable, yet the messy narrative is all over the place; all this serviceable build-up comes to such a disappointing, anti-climactic ending that it makes you wonder what its true meaning is - maybe sequels - the story certainly leaves it open for more though I can't imagine this being a huge hit. The unsatisfying, unwieldy "Victor Frankenstein" has a few good moments, but overall it simply isn't well-constructed; for a better (and much more enjoyable) treatment on this story, watch Mel Brooks' 1974 classic "Young Frankenstein," its "Puttin' on the Ritz" musical number is a highlight.

By the Sea - D

Rated R, 110 minutes

Angelina Jolie

"By the Sea" is dead in the water, which may come as a surprise to those who love Hollywood power couple Brad Pitt and Angelina Jolie, but even their admirers will have difficulty enjoying themselves in this dreadful outing, a leaden, pretentious clap-trap directed and written by Jolie that is a crashing bore and devoid of much meaning. Set in France during the mid-1970s, Vanessa (Jolie), a former dancer, and her husband Roland (Pitt), an American writer, travel the country together. They seem to be growing apart, but when they linger in one quiet, seaside town they begin to draw close to some of its more vibrant inhabitants, such as a local bar keep (Niels Arestrup) and some newlyweds (Melanie Laurent and Melvil Poupaud). Much like the real couple themselves, the tepid "By the Sea" is lovely to look at: the attractive leads, the lush photography, the costumes but this vacuous, artsy look at trying to saving a marriage modeled on some of the European art films of the 1970's is one of the most tedious films seen of late. Jolie's direction and writing, which showed promise with last year's uplifting true story "Unbroken," has little going for it here, and the film's lack of coherency is glaring, not to mention it's just terribly uninvolving. Pitt is a drunk writer, Jolie is his mopey wife and little happens until they become peeping toms to their neighbors in the hotel, some frisky newlyweds who put a spark of sorts back in the couple's relationship and in the movie itself; this voyeur aspect of "Sea," designed to the its provocative angle (other than seeing Jolie topless in a couple of scenes), is mostly just creepy and tiresome. The Jolie-Pitt brand will certainly draw some in, but "By the Sea" is a lifeless arthouse affair; instead of a seaside vacation, this unlikable and unsympathetic couple is in great need of couples therapy, and best to just leave us out of it. Note to Angie and Brad: we don't care. Take a lot of No Doze if you attempt this snooze fest.

Brooklyn - A-

Rated PG-13, 112 minutes

Superbly acted, tender and touching, the drama "Brooklyn" is a compelling look at the tough choices faced by immigrants to America. Directed by John Crowley ("Closed Circuit") and written by "About a Boy's" Nick Hornby based on Colm Toibin's 2009 novel of the same name, it's partly a love story and partly an inspiring story of change and is one of the year's most touching stories. The film tells the story of an Irish immigrant named Eilis (Saoirse Ronan) in 1950s New York falls for Tony, an tough Italian plumber (Emory Cohen), but faces temptation from another Jim (Domhnall Gleeson) when she returns to her homeland for a visit. The poignant "Brooklyn" is most memorable for the remarkably mature, assured performance from Ronan, an American with her own Irish heritage and who holds dual citizenships in the U.S. and Ireland. This no doubt influenced her strong but sensitive portrayal, and her flawless Irish accent reminds of a young Meryl Streep, and on that note expect to see an Oscar nomination for her. Cohen as her Italian squeeze, is also affecting; rounding out the cast is Gleeson, who provides a quandary for the young Eilis, and Julie Walters, who steals all her scenes as the plain-spoken Irish woman Ms. Kehoe, who runs the boarding home where Eilis lives - those scenes about conversation and life at the table with Ms. Kehoe and the girls are among the many highlights of the film. The solid direction and script help the slow moving, character-driven film along and through some of its more calculated, sentimental times where you'll be reaching for your tissues. In addition to its touching story and acting, "Brooklyn," with its detailed vintage costumes and sets, also evokes 1950's New York City very well. Put this one on your list to see, especially for Ronan's astonishingly self-assured, confident turn that is a shoo-in for an Oscar nomination this year.

The Night Before - B-

Rated R, 101 minutes

The likable, profane and utterly silly "The Night Before" is hardly revelatory in terms of laughs and is a bit all over the place, though it does create a new sub genre: the lewd stoner Christmas comedy, though in fact that's hardly surprising given its makers. If you need to break away from the holiday stuffing and stuffiness, then "The Night Before" is for you. Fourteen years ago, Ethan's (Joseph Gordon-Levitt) parents passed away on Christmas Eve. His two best friends, Isaac (Seth Rogen) and Chris (Anthony Mackie), have been with him in support on this night by having an annual tradition of going out on Christmas Eve. However, because Isaac is going to be a father and Chris has become famous, all three decide to have one last Christmas Eve out in New York City. Directed by Jonathan Levine, who directed Gordon-Levitt and Rogen in "50/50" and co-written by Levine, Evan Goldberg, Kyle Hunter and Ariel Shaffir, raunchy holiday-themed "The Night Before" is definitely a bro comedy that will appeal mostly to bros. This dumb stuff is hardly a surprise coming from Rogen and company - it's essentially "Pineapple Express" with a Santa cap: there's an exceeding amount of drugs, and even James Franco cameos again riffing on his supposed gay persona, but it's mostly an enjoyable, if not uneven and inconsistent, comedy about the value of friendship and maturity.  The three charming leads have a believable chemistry together that works most of the time, and while a drug-fueled Rogen steals most of the scenes, Gordon-Levitt grounds the film well and has the movie's most charming scene: a "Wrecking Balls" duet with Miley Cyrus in an attempt to woo his girl (Lizzy Caplan). Unsurprisingly, this works much better as a straight stoner holiday-themed film, with some of the "It's A Wonderful Life"-esque touches lacking inspiration and giving it a predictable sheen, even though character actor Michael Shannon ("Freeheld") is a hoot as the Clarence-inspired drug dealer. Not everything about the crude but enjoyable "The Night Before" works perfectly, but a few more sips of the egg nog will help just about anything go down easier.

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.

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.