If you want to see the formula for a successful ensemble romantic comedy, look at “Love, Actually.” The British Christmas flick has already become a classic, and for good reason. The stories are all engaging and understated, and they connect to one another without stretching the boundaries of coincidence.

I have to start this article with an embarrassing confession: I really like the “Twilight” series. I started reading the books when I was a freshman in high school, and the series still brings out my squealing-teenage-girl side. The movies, so far, have stuck with what “Twilight” did best: melodramatic storylines coupled with guilty-pleasure fan service.

What you get out of a movie is always going to depend on what’s going on in your own life. This is a recognized fact. So, to write a review of “Margin Call,” I think I need to explain a few things. I’m a Wash. U. senior. I’ve never done my own taxes, never handled my own investments, never had anything more permanent than a summer job.

With the astounding success of the re-release of “The Lion King” in 3D, Disney has announced that it will bring four more classics back to the big screen. Viewers can first expect “Beauty and the Beast” to show up this January, followed by “Finding Nemo” in September 2012, “Monsters, Inc.” in January 2013 and “The Little Mermaid” in September 2013.

“50/50” is a movie about a 27-year-old guy who gets cancer. It stars Joseph Gordon-Levitt as Adam, the guy with cancer. Seth Rogen plays his friend and Anna Kendrick plays his pretty young shrink. Sadly, that’s all you need to know to figure out exactly how the movie goes.

As you all know, W.I.L.D. is this Friday. There will be lots of pre-gaming, a musical act you may or may not have heard of and the majority of the Washington University student body wandering around the Quad. It’s a good Wash. U. bonding experience. But this year, W.I.L.D. coincides with DAYGLOW. Guess what?

There’s something really intrinsically scary about disease. Most horror flicks involve somewhat improbable horrors: psychotic killers, rampaging clowns, ghosts, witches. When you come out of the theater, you might be creeped out, but you can always fall back on the knowledge that nothing like that will ever happen to you. “Contagion” offers no such happy assurance.

Lenny Kravitz’s “Black and White America” doesn’t really offer a coherent argument. The title track strikes a message of optimism: “The future looks as though it has come around, and maybe we have finally found our common ground.” Okay, Lenny, support that assertion. Well, in the verses, he talks about Martin Luther King, Jr. and how he died for a better world.

I will be the first to admit it: I love romantic comedies. I will also be the first to admit that it’s been a sparse year. The only decent rom-com I can remember seeing in the past year is “Letters to Juliet,” which came out last summer. So, taken in that context, “Something Borrowed” was good. I’d love to say it was great. It had everything going for it.

I’m sure I’m not the only one with complicated feelings about the music of “Glee.” Although the show’s actual plot was often melodramatic when it first started, it was worth watching for the music—the creative mashups, the emotional performances of Broadway standards, the pop music sung better than the original singers.