Harrison Ford and Chadwick Boseman in 4242

42, writer/director Brian Helgeland's dramatization of three years in the life of baseball trailblazer Jackie Robsinson, is an earnest, deliberately old-fashioned entertainment, an inspirational bio-pic made with professionalism and care but little in the way of emotional or thematic nuance - it's the very definition of what-you-see-is-what-you-get filmmaking. In three specific scenes, though, this seemingly prototypical triumph-of-the-underdog sports flick also achieves a legitimate, rousing greatness, and it's the sort of expansive and lingering greatness that makes you leave the picture feeling, with few reservations, that the movie as a whole was truly great.

Nikolaj Coster-Waldau, Jessica Chastain, Isabelle Nélisse, and Megan Charpentier in MamaMAMA

A new film titled Mama opened this past weekend, and it stars Jessica Chastain. Given the current Oscar nominee's cinematic omnipresence over the past two years, you may be inclined to say, "Well, of course it does." But I'm leading with that information because in addition to being almost insanely prolific, Chastain (whose recent résumé also boasts The Tree of Life, The Help, Take Shelter, and, of course, Zero Dark Thirty) is about as reliable an indicator of quality as this decade's movies have provided. And against considerable odds, not the least being its unpromising January release date, director Andrés Muschietti's outing is a supernatural fright flick of considerable quality - gripping and nerve-racking and sensationally well-made, and yet another showcase for Chastain's stirring soulfulness and remarkable versatility.