Directed by

James Watkins

Starring

Daniel Radcliffe

Let’s face it: Daniel Radcliffe has probably already been in the most successful movie of his career. With the last Harry Potter movie earning more than a billion dollars worldwide, Radcliffe has little chance of topping that film. Similarly, he has little chance of escaping being known as Harry Potter for the rest of his life, since even his attempts at Broadway success were marred by screaming fangirls. Knowing that, Radcliffe can probably be more selective in his roles than most young actors. For his first post-Potter role, Radcliffe chose horror movie remake “The Woman in Black.”

“The Woman in Black,” based on a 1983 novel and a 1989 film, sees Arthur Kipps (Radcliffe) traveling to a small village in England to settle the affairs of deceased Alice Drablow. He arrives in town to find that everyone is afraid of Drablow’s house, yet no one will tell him why.

Of course, Kipps visits the house anyways. While he looks through her papers, he hears noises both inside and outside the house. When he goes to the window to investigate, he briefly sees a woman in black, who then instantly disappears. When he returns to town, he finds that a young girl has poisoned herself with lye, which is then blamed on his visit to the house. According to the villagers, whenever anyone sees the Woman in Black, she kills a child in order to exact revenge for the death of her own child.

The plot is certainly compelling and provides for more than enough jumps, gasps and yelps from the audience. With expert cinematography and art direction, “The Woman in Black” is better than most horror movies. Even if the house in the middle of a swamp isn’t scary enough, the camera is placed so that even miniscule changes in the background are perceptible to the audience, who can jump without Kipps even knowing anything is wrong.

On the subject of Kipps, many eyes will pay attention to Radcliffe’s performance. While not Oscar-worthy, he turned in a believable, thrill-inducing performance that was perfect for the role and the movie. In other words, he knocked this one out of the park.

Unfortunately, though, the movie did not. Even with the cinematography and acting, “The Woman in Black” fell short. Parts of the lore of the Woman in Black didn’t quite fit, and the climax was just, well, anticlimactic. The movie left a feeling of emptiness, as if something was missing. I couldn’t quite put my finger on it, though.

“The Woman in Black” was a decent horror movie. By horror-movie standards, it was actually quite good, with excellent cinematography. Unfortunately, little attention will be paid to the technical aspects of the movie. Even with its phenomenally creepy trailer, the movie’s core audience will surely be Harry Potter fans trying to recapture the magic. Every article, including, it seems, this one, will focus on Daniel Radcliffe’s post-Potter career instead of the merits of the movie. “The Woman in Black” herself will be haunted by an even more frightening spirit—that of Harry Potter.

Patrick Redmond

In this film image released by Roadside Attractions, Mia Wasikowska, left, and Glenn Close are shown in a scene from “Albert Nobbs.” (AP Photo/Roadside Attractions, Patrick Redmond)

“Albert Nobbs,” the new film written, produced, and ultimately brought to life by Glenn Close, depicts an intimate and heart-wrenching portrait of a woman who disguises herself as a man in 19th-century Ireland. In a role that has recently garnered her an Oscar nomination for Best Actress, Close takes on the title role of Albert with an understated, cerebral precision that simultaneously emotes Albert’s false facade of security and his internal gender identity struggle.

As a waiter in an upscale Dublin hotel, Albert tends to the demands of upper-class guests with too much self-importance. He also manages the hectic work environment created by his co-workers, whose transgressions include heavy workplace drinking and adulterous relationships. Despite this stressful and chaotic work environment, Albert carries himself with dignity and always completes his tasks with diligence, often outperforming his male co-workers. Albert’s perception of his life as a man changes once he meets Hubert Page (Janet McTeer), another woman disguised as a man who begins to work at the hotel. Mr. Page has not only achieved great prosperity, but he has also managed to find a wife. Inspired by the success of Mr. Page, Albert questions his life plans and begins to pursue his dreams of opening a tobacco shop and marrying Helen (Mia Wasikowska), a hotel maid. Although Close’s nuanced performance as Albert anchors the film, McTeer and Wasikowska’s supporting roles provide the film with even more dramatic depth as well as a strong sense of humor.

Rodrigo Garcia, a director known in Hollywood for women-centered films such as “Mother and Child” and “Things You Can Tell Just by Looking at Her,” manages to capture stellar performances from a mostly female cast. The film’s exquisite sets easily transport the viewer to Dublin in 1898, and they also highlight social stratifications between the hotel waiting staff and the upscale clientele they serve. Garcia’s sets also emphasize the contrast between the film’s backdrop of a cold Dublin winter and the warm interior of the Morrison’s Hotel.

Although films like “Transamerica” and “Boys Don’t Cry” have attempted to tell contemporary narratives of transgender identity, “Albert Nobbs” addresses transgender issues during a time of rigid gender expectations. By today’s standards, our society would likely place Albert in the category of transgender. Unfortunately in 1898 Ireland, gender roles were rigidly defined and no such classification existed for individuals like Albert. This detail exacerbates Albert’s plight and encourages the audience to rethink its understanding of gender roles.

Even though some audiences may find Close’s performance as Albert uneventful and exceedingly stoic at times, her transformation into an introverted, morally sound Irish man is undeniably stunning. Close’s ability to emote both Albert’s dignified veneer and internal identity crisis certainly gives us one of the year’s best performances. While the film’s ending transpires in an arguably predictable manner, the film’s narrative of gender identity, ambition and the pursuit of love in late-19th-century Ireland provides a fresh experience for movie-goers that prevents the film from being just another period piece.

Jan Thijs | Relativity Media

Lily Collins stars in Relativity Media’s “Mirror Mirror.”

“Red Tails” (January 20)
“Red Tails” is the story of the Tuskegee Airmen, who were the first all African-American aviator team. They flew for the country in WWII despite facing racial discrimination both on the home front and in the armed forces. The movie is executive produced by George Lucas (“Star Wars”) and stars Cuba Gooding Jr. (“Radio”), Terrence Howard (“Hustle & Flow”), and singer Ne-Yo. Lucas talked of the difficulty of getting a movie with a predominantly African-American cast made, and given the heroic tale he is trying to tell, let’s hope that “Red Tails” succeeds. – Georgie Morvis

“The Grey” (January 27)
Liam Neeson leads an ensemble cast in this survival tale after an airplane crashes in the Alaskan wilderness. The men must survive the bitter environment, starvation, and attacks by a pack of wolves. Let me dial that down for you: Liam Neeson vs. a pack of wolves. The star of “Taken” vs. a pack of wolves. Qui-Gon Jinn vs. a pack of wolves. The voice of Aslan vs. a pack of wolves. No matter how you spin it, Liam Neeson is awesome, and he is perfect for a movie about fighting a pack of wolves. Joe Carnahan, of “Smoking Aces” and “The A-Team”, directs “The Grey” so the action scenes will probably be top-notch. Let’s hope that Carnahan mostly sits back, though, and lets Neeson do his thing. – Georgie Morvis

“Man on a Ledge” (January 27)
The titular “Man on a Ledge” is Sam Worthington (“Avatar”), who plays an ex-con standing on a ledge, contemplating suicide. But everything is not what it seems, and the whole thing might just be a cover-up for a major diamond heist. Elizabeth Banks (“30 Rock”) plays a crisis negotiator dragged into the mess, and Ed Harris (“The Hours”) is diamond magnate villain. There are sure to be twists and thrills a plenty in the first feature from director Asger Leth. – Georgie Morvis

“The Woman in Black” (February 3)
Daniel Radcliffe makes his return to the silver screen in “The Woman in Black.” Ironically, he attempts to avoid the curse of becoming too associated with one role by playing the main character in a horror movie. It looks to be a fairly typical haunted house movie, with an old mansion on the outskirts of town and all. The director, James Watkins, is relatively new but already has a couple horror/thriller titles under his belt. Hopefully Radcliffe will be able to pull off the role as he discovers the secrets hidden in the house. – Trevor Leuzinger

“The Vow” (February 10)
The trailer to new Nicholas Sparks adaptation “The Vow” is sort of brilliant. It ticks off all the emotional boxes first. Cute romantic couple, check. Unthinkable tragedy, check. Love triangle in which we will continue to cheer for the hero because the other guy is a gigantic douche, check. Uplifting Taylor Swift song, check. Academy Award-winner from an older generation in paycheck role, check (this time it’s Jessica Lange). But the best part is when they give the names of the two stars. It’s “From ‘The Notebook,’ Rachel McAdams” and “From ‘Dear John,’ Channing Tatum.” Middle-aged women and middle school girls everywhere, rejoice! You don’t even have to ask yourself where you remember the actor from, because they tell you exactly where. The marketing team behind “The Vow” really knows their stuff. Props. – Georgie Morvis

“Ghost Rider: Spirit of Vengeance” (February 17)
Who knows why they made another “Ghost Rider” movie? Actually, I do. It’s because Nicolas Cage has never said no to any movie role. So he’s back for “Ghost Rider: Spirit of Vengeance.” He has two acclaimed foreign actors along for the ride, Ciaran Hinds (“Tinker Tailor Soldier Spy”) and Idris Elba (“The Wire”). I’m not sure why they’re in it, either. Hinds plays the Devil, though, so look for plenty of scenery chewing from him. We suggest watching “Nicolas Cage Losing His Sh*t” on YouTube instead. – Georgie Morvis

“This Means War” (February 17)
What do Chris Pine and Tom Hardy have in common? Apparently, Reese Witherspoon. In “This Means War,” Pine and Hardy play two spies and friends who find out they’re dating the same woman, Witherspoon. They decide together to respectfully go after her and let the best man win. But in the actcom (action comedy), their truce is obviously brushed aside and they use all their ninja-like powers to get the girl. Although she is usually at the center of every film she is in, Witherspoon appears to be less of a key player in this film. Chelsea Handler also plays Witherspoon’s friend in the film, which could be a sign that the movie may be funnier than it looks. – Alieza Schvimer

“The Lorax” (March 2)
To some extent, Dr. Seuss was a part of everyone’s childhood. And The Lorax has the added benefit of dealing with environmentalism, and environmentalism is in right now. But, in the minus column, think about previous Dr. Seuss movies. “How the Grinch Stole Christmas” was only popular because TV networks needed a new Christmas movie to play in December. No one bothered to see “The Cat in the Hat.” “Horton Hears a Who!” was decent, but not really memorable. Turning 20-page kids’ books into feature-length movies is not an easy proposition, and it’s hard to be optimistic about the result this time when we’re relying on the voice acting talents of the likes of Zac Efron and Taylor Swift. – Nora Long

“John Carter” (March 9)
“John Carter” stars Taylor Kitsch (“Friday Night Lights”) as the title character in Disney’s response to “Avatar” (although this film has been in the works for years). The movie follows the Civil War veteran John, who is transported to Mars to lead a war going on there. The director, Andrew Stanton, is on loan from Pixar in his first venture at directing a live-action movie. The story is based on a series by the author Edgar Rice Burroughs. The content seems like an odd choice for a Disney movie, so it will be interesting to see whether it reaches a similar level of success. – Trevor Leuzinger

“21 Jump Street” (March 16)
In this reimagining of Johnny Depp’s late ’80s undercover cop series, police officers Jenko (Channing Tatum) and Schmidt (Jonah Hill, also a co-writer for the film) must pose as high school students to break up a drug ring. Tatum and Hill’s buddy cop “bromance,” coupled with the usual high school movie shenanigans – parties, prom, annoying parents – give this film the potential to be entertaining, especially if Depp makes a cameo. The trailer is definitely worth a watch. – Jordan Weiner

“Mirror Mirror” (March 16)
“Mirror Mirror” reworks the Snow White fairytale in a very dark way. Julia Roberts, playing the Evil Queen, seeks to gain control of the kingdom and win the attention of the prince (Armie Hammer) away from Snow White (Lily Collins). She thus exiles Snow White to the forest where a hungry man-eating beast awaits. Rescued by seven highway robbers (the dwarves), Snow White is determined to regain her birthright. The costumes and set seem perfect to take viewers into this fantasy world. “Mirror Mirror” is poised to attract viewers of all ages and bring them into the live-action world of this beloved animated movie. – Jennifer Goldberger

“The Hunger Games” (March 23)
Though it’s hard to imagine how this film will ever stay within the boundaries of its inevitable PG-13 rating, “The Hunger Games” should prove to be quite the thriller. This film, based on the best selling Suzanne Collins YA novel, tells the tale of Katniss Everdeen, a 16-year-old who volunteers to fight to the death on national television to save her younger sister from the same fate. The novel weaves action, drama and romance together wonderfully, and the trailer basically promises that the movie will do the same. – Andie Hutner

“Wrath of the Titans” (March 30)
Sam Worthington returns as Perseus to lead a talented ensemble in this sequel to “Clash of the Titans.” Ralph Fiennes (Voldemort in “Harry Potter”), Bill Nighy (Davy Jones in “Pirates of the Caribbean”) and Rosamund Pike (ex-“Bond” girl) also feature in the cast. Most importantly, Liam Neeson also returns as Zeus, whose cry of “Release the Kraken!” became the most iconic part of the first movie. What quote from the sequel will become an Internet meme this time? We hope it is “Go go go Winged Pegasus!” – Georgie Morvis

Andrew Schwartz | Warner Brothers

Josh Duhamel stars as Sam in New Line Cinema’s romantic comedy “New Year’s Eve,” a Warner Bros. Pictures release, in theaters nationwide on Dec. 9.

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.

If, on the other hand, you want to see Hollywood throw together a bunch of celebrities and sappy platitudes and hope for the best, go see “New Year’s Eve.”

You would think that the abundance of famous actors in “New Year’s Eve” would be a selling point, and in a sense it is. Even the minor characters were mostly played by people I’ve heard of. Cary Elwes had a couple of lines as a doctor, and Sofía Vergara shows up as exactly the same character she plays on “Modern Family.” The most entertaining part of the movie was probably playing celebrity bingo.

But celebrity bingo is a double-edged sword—lack of character development aside, it was hard to care about the characters when I was so constantly aware of the actors playing them.

After seeing the movie, I was told my expectations were too high. The thing is, I saw “Valentine’s Day.” I knew what I was in for. I would have been perfectly happy with two hours of mindless entertainment—mini romantic arcs leading up to a bunch of kissing at midnight. I’m a girl—I’m practically hardwired to enjoy romantic on-screen kisses.

But while I have a high tolerance for romantic drivel, I simply couldn’t handle the sheer quantities of schmaltz that “New Year’s Eve” dishes out. I counted at least three monologues about what the new year means plus several musical performances accompanying montages of pseudo-meaningful moments.

Let’s list off some of the storylines, shall we? Someone is born. Someone dies. Someone has a husband at war. A mother bonds with her teenage daughter. A middle-aged woman realizes that this is the first day of the rest of her life. Couples either reconnect or meet for the first time. It all sounds good on paper, doesn’t it? And in real life, these are all huge, life-defining events. In fact, nearly every huge, life-defining event I can think of shows up at some point in the movie, as if director Garry Marshall was working from some sort of checklist. But instead of feeling that emotional weight, we hear about it, ad nauseam, in tidy clichéd monologues.

I don’t think I was the one with unrealistically high expectations for “New Year’s Eve.” I think that distinction belongs to Garry Marshall. Instead of letting the story be a celebration of pretty people making out in Times Square, he tried to artificially impose deeper meaning. Deeper meaning did not stick, and all the attempts at deeper meaning kind of ruined my enjoyment of what could have been a forgettable but entertaining movie.

Andrew Schwartz | Warner Brothers

Lea Michele appears as Elise in New Line Cinema’s romantic comedy, “New Year’s Eve.”

“50/50”: Wash. U. students are almost obligated to go see this comedy starring Joseph Gordon-Levitt in which he plays a character who discovers he has cancer but deals with it in an alternative way.

“The Descendants”: Everyone loves George Clooney movies, especially ones like this. The film tells how he deals with raising two children while simultaneously dealing with an unfaithful and comatose wife.

“Footloose”: A remake of the 1984 classic, “Footloose” chronicles the lives of teenagers in a conservative Southern town who just want to dance.

“Like Crazy”: This movie, a 2011 Sundance Film Festival favorite, tells a story many of us can relate to: the trials and tribulations of a long-distance relationship. However, the couple in this movie must also deal with immigration rules and a 5-hour time difference.

“Moneyball”: Although I usually do not enjoy sports movies, this movie entertainingly shows how the Oakland A’s general manager Billy Beane put together a great baseball team despite a low budget. Besides, it’s not hard to stare at Brad Pitt for two hours.

“Martha Marcy May Marlene”: Starring Mary-Kate and Ashley Olsen’s little sister, this drama shows the plight of a woman trying to re-assimilate into society after leaving an abusive cult.

“New Year’s Eve”: Filled with every hotshot actor you could ever possibly imagine, from Robert De Niro to Lea Michele, this movie showcases the various ways New Yorkers spend their New Year’s Eves. (This movie technically hasn’t come out yet, but it opens while we are still in school, so the chances that you will see it before winter break are slim to none.)

“Our Idiot Brother”: With stellar performances by fan favorites Paul Rudd and Zooey Deschanel, this comedy presents the challenges and luxuries of living with a lovable but irresponsible sibling.

“Tower Heist”: This action/comedy cannot help but remind people of the sad stories started by Bernie Madoff. The film tells the story of a group of staffers at a luxury hotel who decide to rob the ridiculously wealthy penthouse resident after his Ponzi scheme left them without adequate retirement plans.

“A Very Harold and Kumar 3D Christmas”: In the third installment of this hilarious trifecta, Harold and Kumar encounter shenanigans after accidentally burning Harold’s father-in-law’s prized Christmas tree.

“A Dangerous Method” (Nov. 23)
This period piece features stars Viggo Mortensen, Michael Fassbender and Keira Knightley in a dramatized version of history. The film follows the complicated relationship between Sigmund Freud (Mortensen) and Carl Jung (Fassbender) in one of those stories in which great friends turn into great enemies when a woman comes between them. Academy Award-winning screenwriter Christopher Hampton adapted the screenplay from his 2002 play “The Talking Cure,” which he based on John Kerr’s 1993 nonfiction book, “A Most Dangerous Method.” As Freud and Jung help mental patient Sabina Spielrein (Knightley), they develop not only psychoanalysis, but also a potent rivalry.

“New Year’s Eve” (Dec. 9)
“New Year’s Eve,” in the style of “Valentine’s Day,” follows couples and singles in New York City on New Year’s Eve. The A-list cast, including Jessica Biel, Hilary Swank, Sofia Vergara, Ashton Kutcher, Katherine Heigl and Zac Efron, is sure to attract audiences. One night has the power to change everything, especially when that night is New Year’s Eve. There are a million stories about what happens on New Year’s Eve, and the film offers a glimpse at a few. If you’re looking for a light and entertaining comedy this holiday season, “New Year’s Eve” is the perfect one.

“Tinker Tailor Soldier Spy” (Dec. 9)
Gary Oldman doesn’t have an Oscar. Strike that, he doesn’t even have a nomination. Just let that sink in for a while. Hopefully “Tinker Tailor Soldier Spy” finally brings him one. He stars as George Smiley, a once-fired spy rehired by the Circus (British Intelligence) to try to discover a mole at the very top. Tomas Alfredson, the Swedish director from “Let the Right One In,” a cult vampire thriller, is in charge of “Tinker,” whose script was adapted from the well-known John le Carré spy series. Tom Hardy, Colin Firth, and Mark Strong, along with a host of other British acting elites, provide support. The trailer promised a stylish and intelligent spy movie, and with all the talent involved, it’s hard to imagine it being anything other than extraordinary.

“Sherlock Holmes: A Game of Shadows” (Dec. 16)
In 2009, the first of this “Sherlock Holmes” reboot series brought us the witty “bromance” between Robert Downey Jr.’s Holmes and Jude Law’s Watson, which, if the previews are any indication, will continue to flourish in this new film. This sequel finds Holmes facing his greatest adversary­­—Professor Moriarty (Jared Harris), an evil plotter who rivals Holmes in cleverness. Just as Watson prepares to get married, Holmes gets them both wrapped up in Moriarty’s latest scheme. “A Game of Shadows,” thankfully, will include more of Hans Zimmer’s music and less of the supernatural stuff that held back the 2009 film.

“Young Adult” (Dec. 16)
Director Jason Reitman and screenwriter Diablo Cody reunite for their first movie together since “Juno,” but this movie looks to the be polar opposite of the honest-to-blog-good teen dramedy. “Young Adult” stars Oscar-winner Charlize Theron as Mavis Gary, a fiction writer who returns to her hometown to steal back her married high school sweetheart. Gary will probably be one of the most unlikable and immature protagonists in recent film history, and Theron looks to be prickly yet perfect in the part.

Courtesy of Paramount Pictures

A still from “The Adventures of Tintin,” an animated movie adaptation of the comic by Hergé.

Courtesy of Paramount Pictures

Paula Patton and Tom Cruise star in “Mission: Impossible – Ghost Protocol.”

“Extremely Loud and Incredible Close” (Dec. 25 limited, Jan. 20 wide-release)
Based on Jonathan Safran Foer’s 2006 novel, this film tracks the story of Oskar Schell (Thomas Horn), a young boy struggling with his father’s death after the 9/11 attacks. Oskar finds a key his father left behind, and he journeys across New York searching for the matching lock. Along the way, he meets many bizarre characters, and we learn about his grandparents, who survived the Dresden bombings. With ties to 9/11 and World War II, as well as Academy Award-winning stars Tom Hanks and Sandra Bullock as Oskar’s parents, the film looks like Oscar bait for sure. Hopefully it will do justice to Foer’s clever and touching book.

“The Girl with the Dragon Tattoo” (Dec. 25)
David Fincher teams up again with “Social Network” actress Rooney Mara for a gritty thriller based on the wildly popular book series. After coming ever so close to an Oscar statue last year, Fincher looks to be back in his comfort zone of movies like “Se7en” and “Fight Club”, and in fine form, too. Mara plays Lisbeth Salander, a hacker who teams up with Mikael Blomkvist (Daniel Craig, James Bond himself) to solve a forty-year old mystery. Christopher Plummer (“Beginners”), Robin Wright (“The Princess Bride”), and Joel Kinnaman (“The Killing”) also star. Going by the eight-minute sizzle reel shown to press, “Girl” will be one of the best thrillers of this decade.

“War Horse” (Dec. 25)
Due for release on Christmas Day, “War Horse” is Steven Spielberg’s film adaptation of the critically acclaimed stage play of the same name (it won the Tony for Best Play), which was based on a Michael Morpurgo novel. The movie tells the story of a boy, Albert, played by newcomer Jeremy Irvine, whose beloved horse Joey is sold to the cavalry to fight in World War I. Joey embarks on a journey across the front lines and trenches of the war as his faithful owner sets out on a parallel voyage to get back his treasured horse. With a strong ensemble cast featuring David Thewlis, Benedict Cumberbatch and Emily Watson, “War Horse” is already gaining Oscar buzz. Promised to be an epic combination of lush cinematography, emotional gravitas and teary moments, “War Horse” is surely a must-see this holiday season.

“The Iron Lady” (Dec. 30 limited, Jan. 13 wide-release)
A biographical film revolving around the life, power and ensuing decline in popularity of former British Prime Minister Margaret Thatcher, the inimitable Meryl Streep plays The Iron Lady herself. Set in the present day, the film follows Thatcher in her old age as everyday objects around her begin to trigger flashbacks, ranging from her beginnings as a politicized young woman and her rise to power to the major political tensions and events of her time on 10 Downing Street. Esteemed British actor Jim Broadbent (“Harry Potter”) fills the role of Thatcher’s husband. While the portrayal of controversial figure Thatcher may split audiences, the movie should be worth seeing just to get another glimpse of Streep at her finest.

Sam Jones | Disney

Amy Adams and Jason Segel star as Mary and Gary in Disney’s “The Muppets,” coming to theaters on Nov. 23, 2011.

The Muppets were a very important part of my childhood. I was Beaker for Halloween once and won a costume contest.

Watching the Muppets 4D experience at Disney World remains the only time I’ve ever been okay with a 4D movie. So when I heard they were making a new movie, I was both excited and terrified. The franchise had been dormant for so long—could they really revive it? The answer is yes, and in near-perfect form, too.

“The Muppets” is the story of Walter, a puppet (voiced by Peter Linz), and his brother Gary (Jason Segel), a human, living in Smalltown, USA. Gary and his girlfriend Mary (Amy Adams) go on a romantic getaway to Los Angeles, and Walter tags along. They go to Muppet Studios, where Walter overhears the diabolical plan of the oilman Tex Richman to buy the studio and destroy it for more oil. The only way to stop him is if the original Muppets can get back together and raise $10 million.

And so Walter, Gary and Mary travel to round up the Muppets. At this point, the movie truly begins to feel like a Muppets movie. They break the fourth wall and find themselves in absolutely ridiculous yet hilarious situations. There are explosions, maniacal laughs, and montages set to ’80s music. At one point, they kidnap Jack Black. And all of the best Muppets appear, including Kermit, Miss Piggy, Gonzo, the Swedish Chef, and Statler and Waldorf.

Segel, an actor I am not fond of, won me over with his pitch-perfect portrayal of someone who would believe that a Muppet was his brother. He also co-wrote the movie, and his passion for the Muppets really shows. Adams is also great in the girlfriend role, though some of her musical numbers feel like “Enchanted: Fully Loaded.” Chris Cooper is dynamite as the villain, and at one point he raps. Academy Award-winner Chris Cooper raps. And it works brilliantly. The cameos are all worthwhile. My personal favorite was Emily Blunt (“The Devil Wears Prada”) as Miss Piggy’s secretary at French Vogue.

It’s not a Muppets movie without musical numbers, and those are some of the highlights of the movie. The new songs fit right in with the Muppet canon, and the old songs are given their due. Bret McKenzie of “Flight of the Conchords” wrote the songs, which look to be Oscar favorites in the Best Original Song category.

Most importantly, “The Muppets” will introduce their brand of classic characters to a new generation, which will hopefully love the Muppets as much as I do.

Douglas J. Abel

T.J. Thyne stars as Lovell Milo in the independent film “Shuffle,” directed by Kurt Kuenne.

“Shuffle” is a feature by filmmaker Kurt Kuenne, who has been best-known for his documentary “Dear Zachary: A Letter to a Son About His Father.” That was one of the best movies of 2008—an unflinchingly honest, sometimes brutal documentary about Kuenne’s murdered close friend, Andrew Bagby. Here, he shows a different side of his filmmaking talents—he wrote, directed and composed the music for his full-length narrative debut.

“Shuffle” is the story of Lovell Milo (T.J. Thyne, Jack Hodgins from “Bones”), a man who wakes up at a different age every time he goes to sleep. At first he tries to make it stop but then begins to realize that it must be happening for a reason. It transforms from sci-fi to detective story to dark drama quickly. His abusive father and his childhood friend, and later wife, Grace (Paula Rhodes), both figure into the equation heavily.

Rhodes, a native of St. Louis, is best in show. At first her energetic character alienated me, but she slowly revealed new layers and nuances to Grace. Grace felt at first like a caricature, but Rhodes is surprisingly good at the quiet, emotional moments. Chris Stone, on the other hand, is almost comic-book-villainous in his portrayal of Lovell’s father. The man is just a monster, and I never understood why. T.J. Thyne is adequate as the leading man at many different ages, but he never captivated me with his portrayal. Other members of the “Bones” cast appear in small cameo roles.

Obviously, “Shuffle” is not a linear narrative. It also plays with many other nontraditional devices, including “mental journal entries” in which Lovett breaks the fourth wall to basically lay out for the audience what has happened. It’s an undeniably interesting failure. Despite a questionable-at-best plot, I was still emotionally attached to the characters. However, I was most moved by a scene where they had to put down Grace’s dog, so maybe I’m just a sap. Kuenne is very good at the smaller moments of character; he understands how people talk. But most of the script is telling and not showing. The ending felt a little too tidy, and the stylistic flourishes alienated me. His choice to shoot in black and white results in some very weird moments of lighting, and it feels almost lazy. Hit-and-miss movies can only be good if they hit more than they miss, and watching a talented filmmaker and cast miss so often in a movie with rich potential is both sad and fascinating.

“Shuffle” will play on Nov. 20 at the Tivoli Theatre as part of the St. Louis International Film Festival.

Keith Bernstein | Warner Brothers

Left to right: Leonardo DiCaprio stars as J. Edgar Hoover and Armie Hammer stars as Clyde Tolston in Warner Brothers Pictures’ new drama, “J. Edgar.”

Clint Eastwood is a legendary actor and director. Leonardo DiCaprio is one of the best actors of his generation. J. Edgar Hoover was a ridiculous and polarizing figure about whom most of America knows very little. It should all make for a damn good movie, but it is instead just a mediocre experience. It’s uneven and stunningly average.

It’s hard for me to place exactly where the movie went wrong. It was not the typical biopic, with only one real flashback. Hoover had no great defining moment as a kid that changed the whole course of the movie, which was a huge relief. It jumped through several different periods seamlessly in his life as the Director of the Federal Bureau of Investigation. It doesn’t just trace his rise to the top, though. Instead it humanizes a tyrant of information as he might have struggled with his sexuality for his entire life. It is a refreshing look at a period we know only from “Mad Men” and James Bond. Yet for most of the movie, everything rings false. It just feels like everyone involved wants an Oscar—and very few in this production deserve one.

Eastwood’s directorial career has been long and plentiful, but it appears to be on the decline. He makes several strange choices in framing the shots, alternating wildly between brilliant cinema and first-year student film. Eastwood again employs Tom Stern’s bland, washed out cinematography—it’s almost black and white. In some ways, it fits the world of the FBI, but it does not make for a very enjoyable viewing experience. The script is by Dustin Lance Black, Oscar-winner for “Milk.” He is simply out of his comfort zone here when trying to write believable dialogue for such powerful characters as Hoover and Robert Kennedy. The makeup is at times amazing and at other times downright laughable—the old man makeup on Armie Hammer makes him look like some sort of strange goose-alien hybrid.

There are even times when the film is downright propagandistic. The ending of the film, during which Helen Gandy destroys all of Hoover’s secret files, is played to an almost triumphant note. All of that valuable information, probably collected illegally, destroyed to protect one man’s reputation. That’s not something that should be viewed positively. I admire Gandy’s loyalty to her boss, and that’s about it.

It’s not a complete failure, though. Leonardo DiCaprio is aces in the title role. Somehow, under all that aging makeup, DiCaprio manages to project a real vulnerability from the man the movie posters describe as the most powerful in the world. Though the movie plays the relationship between Hoover and Clyde Tolson ambiguously, DiCaprio’s eyes tell a much different story. His accent may be a little awkward, but he absolutely destroys at the end. There are very few kisses in the movie, and the one that was the most powerful for me was not the one that took place in the middle of a drunken fight.

Hammer is great as Tolson, associate director of the FBI, and he becomes even stronger in the role with the disastrous makeup on. With performances like this one and his double role in “The Social Network,” Hammer could be on his way to stardom. Dame Judi Dench threatens to steal the show (as she always does) with an excellent supporting performance as Hoover’s homophobic mother; yet, she is not given enough screen time to truly make an impression. Naomi Watts’ performance as Helen Gandy suffers from the same problem. It’s beautifully understated, and Watts has great chemistry with DiCaprio. A scene early in the movie in which Hoover attempts to propose to Gandy on the first date is one of the few comedic moments in the entire movie—and one of the few high points of the first half.

“J. Edgar” does not live up to its potential, but it left me stunned at the end. A strange conundrum of a movie worthy of the strange conundrum of the man it is about.

Director

Drake Doremus

Starring

Felicity Jones, and Anton Yelchin

Courtesy of Paramount

“Like Crazy” features Anton Yelchin as Jacob and Felicity Jones as Anna.

The two graduate from college, and British Anna decides to overstay her visa because the couple cannot bear to be apart for even a few months. When she finally does go home, she is unable to return to the States. At this point, writer-director Drake Doremus turns the movie from what seems like just another Nicholas Sparks novel-turned-film into the Sundance award winner it is.

The two try to make their first love last, despite the distance between them. When Jacob visits Anna, they revert back to their carefree younger days. When separated, however, they lose their connection and find solace in other people. Still, they are never that far from each other’s thoughts. This is where the movie derives its power. Jones and Yelchin have great chemistry when together on screen, but some of the most striking scenes occur when they express their feelings whilst apart. Yelchin especially conveys more through his phone calls in some scenes than many actors his age could do in an entire movie.

Doremus, in only his second major directing role, does a great job of allowing his characters to shine while adding spice to what could be just another “boy meets girl, they fall in love, he wins her back” movie. Still, one complaint could be that some of his montages are a bit long. The supporting cast is strong, although a bit underused. Alex Kingston and Oliver Muirhead are Anna’s cool, liberal parents, and the delightful Jennifer Lawrence (from “Winter’s Bone”) does a lot with the few lines she is given as Jacob’s secretary/lover.

It is a love story, so Jacob and Anna end up together, but they’ve caused each other too much pain for it to be a happy ending. All of this only makes it feel more real. Even the clichés ring true, partly because so much of love has become clichéd. Anyone who has ever been in love will nod knowingly during the movie, saying, “Yeah, I know how that feels.” That’s really all you can ever ask from a movie, anyway.