UNBROKEN, THE IMITATION GAME, and BIG EYES

Among other titles, Christmas Day brought with it the area releases of Angelina Jolie's Unbroken, Morten Tyldum's The Imitation Game, and Tim Burton's Big Eyes. Each of them opens with a title-card variant on "This is a true story." Each of them ends with a series of title cards informing us what happened to characters after the films' narratives concluded. And each of them, for occasional better and more frequent worse, feels absolutely, 100-percent Hollywood.

ZERO DARK THIRTY

As an orchestrator of cinematic suspense, Kathryn Bigelow might currently be without peer in American movies. The sequences of Jeremy Renner dismantling explosives in the director's Oscar-winning The Hurt Locker were miniature masterpieces of sustained excitement; despite our knowing, through much of the film, that it was too early for Renner's Sergeant William James to be killed off, each masterfully shot and edited act of bomb disposal vibrated with legitimate threat. In Zero Dark Thirty - Bigelow's and screenwriter Mark Boal's fictionalized docu-drama about the decade-long search for Osama bin Laden - nearly every scene feels like a ticking time bomb. There is, of course, never any doubt about the narrative's outcome, yet Bigelow's gifts for composition and pacing ensure that you still watch the picture with rapt attention and dread. And blessedly, she's also a spectacular entertainer. The movie is tough-minded and sometimes tough to watch, but even when Bigelow is fraying your nerves, she's tickling your senses.

TINKER TAILOR SOLDIER SPY

You know that handy, lame, relationship-ending sentiment "It's not you; it's me"? That's what I feel like saying to Tinker Tailor Soldier Spy, the new adaptation of the famed John le Carré novel. I readily concede that director Tomas Alfredson's spy thriller is beautifully made, boasting engaged, cagey performances and a number of superbly shot set pieces. But for all of the film's merits, I found myself hugely relieved when its end credits rolled, because Alfredson's intensely complicated endeavor appeared so much smarter than I am that I took almost no pleasure from the experience. My issue isn't that the movie is a dog. It's that, for most of Tinker Tailor's 125 minutes, I felt like a dog watching a movie.

NO STRINGS ATTACHED

Against all expectations, at least my expectations, director Ivan Reitman's No Strings Attached is a perfectly enjoyable piece of midwinter fluff, engaging and breezy and of no consequence whatsoever. Yet I'll admit to being somewhat shocked when, two days after seeing it, I replayed the notes I quietly recorded during my screening, and discovered that I didn't whisper even one criticism or complaint in the whole of its 105 minutes, which is a claim I can't even make about The Social Network.

Then again, the movie is a formulaic romantic comedy starring Ashton Kutcher, so I suppose the complaints do take care of themselves.