THE WOMAN IN BLACK 2: ANGEL OF DEATH

For those keeping track, the newly annual tradition of each film year opening with a horror sequel continues, thanks to the release of The Woman in Black 2: Angel of Death. But I should mention that, beyond the presence of the titular ghost, director Tom Harper's follow-up doesn't share many traits with the original. There's no Daniel Radcliffe, for one thing. And instead of taking place in the London outskirts of the Edwardian era, this one is set during World War II. And ... . Um ... . Wow. Does anyone recall anything else about the original?

Tom Hardy in The DropTHE DROP

Tom Hardy, by this point in his career, has had enough major roles in enough major movies to qualify as a familiar face. And a good thing, too, because if we were forced to rely on his voice and specific screen type, how, from film to film, would we ever recognize him? The British star's latest is the crime thriller The Drop, and it's a solid piece of work - hardly novel, but gripping and enjoyable nonetheless. Yet it's tough to imagine any Hardy fan even thinking about skipping it, considering that, much like the recent home-video release Locke, the movie allows this brilliantly chameleon-like character actor to perform an exquisite slow burn that lasts 90-ish minutes, and to sound and seem quite unlike anyone he's ever played before.

Rachel McAdams and Channing Tatum in The VowTHE VOW

Even though I'm frequently annoyed, if not downright appalled, by them, I really don't ask a lot from traditional romantic weepies. If the actors involved share more-than-sufficient chemistry, and the film provides at least a decent amount of legitimate passion and pathos - with a few good jokes thrown in to keep the proceedings human - I'll generally feel that I've gotten my money's worth. And happily, I got my money's worth at The Vow. I'd hardly argue that director Michael Sucsy's love-among-the-mental-ruins effort is a good movie, but despite never being as interesting as it keeps threatening to be, this audience-friendly drama fulfills its basic requirements with the utmost sincerity and even something approaching wit.

Tom Hanks in Angels & DemonsANGELS & DEMONS

You may not necessarily know character actor Armin Mueller-Stahl by name, but you likely know him by sight, and almost surely by voice. Familiar from such thrillers as Eastern Promises, The Game, and the recent The International - and Oscar-nominated as David Helfgott's über-strict father in Shine - the 78-year-old German, with his closely-cropped gray hair and wizened eye slits, doesn't look much different now from how he did playing Jessica Lange's is-he-a-Nazi-or-isn't-he? dad in 1989's Music Box. And he sounds exactly the same, with that heavily accented, hoarse whisper of his; by the time the performer reaches the end of a sentence, he always seems dangerously close to running out of breath.