This expanded version only suffers, albeit in grim visual splendor, from the extrapolation.

It's a "what if" story that's hopeful but doesn't ring true.

Working from a well-worn template, Turbo Kid nonetheless delivers on all fronts. The one-note characters you’ve seen a million times still surprise with solid performances and refreshing eccentricities thrown in for good measure.

At two hours, the movie goes on too long and resolves too little -- even though it provides some interesting moments along the way.

Reminiscent of HBO’s new hit "Entourage."

If you're not au fait with the scandalous yet prim world of the 1950s West End, See How They Run is still a silly if slight affair, playful without ever being weighty, and mostly given a sense of giddiness by Rockwell's gruff detective and Ronan as his determined if doubting assistant.

On a more basic level, I simply found it so hard to penetrate the two main characters' cauterized psyches that, in the end, I hardly gave a damn what happened to them.

It’s a worthy effort, and Webb’s story is important. Nevertheless, Kill the Messenger feels extremely dated: In these cynical times, it’s too little, too late, which is too bad.

The Duplass brothers have an exceptional eye for microexpressions (yes, they're still zoom-happy), and there's something to be admired in this new interest in a macro lens on the universe's workings. If only it didn't take wading through so much drear to get to that divine.

The film aims to be a cautionary tale, but it doesn’t seem that the filmmakers have absorbed the lesson.

While Scandalous ultimately touches upon the tabloid’s plausible impact on the present-day state of affairs, it’s a killjoy way to begin a movie that’s so engagingly lively.

Sorvino and Kudrow, for whatever inscrutable reasons, seem to be having a blast with their ridiculous characters, and both shine in the loopy set-pieces and dream sequences that pepper the story.

The problem, ultimately, is that little of this is of any real interest. The brothers' bickering can be amusing at times but even at 76 minutes, the movie feels repetitive and overly long.

None of the characters are awful, even in their selfish lows. Leonard is blithely affable, backed by his occasionally useful sidekick, Courtney (Awkwafina), so it's OK that he sides with Red (much as Red resents it).

Dickerson's story of street kids at risk breaks no new ground. It is better than most, but not by much. Sure looks good, though.

Trumbo certainly has pep. Theodore Shapiro’s jazzy score doesn’t just boast a tom-tom – you could choreograph it with pom-poms. Maybe Roach worried that general audiences wouldn’t cotton to a yellowing story about the Red Menace, so he ginned it up with a jazz-hands idea of midcentury Hollywood, with everyone mugging like it’s a lobby-card photo shoot

In all his misguided enthusiasm, Parker has mustered enough bluster to fill up a zeppelin, blowing harder and harder, for something more and more fanciful. But with so much hot air, the bubble is bound to burst, and so it does in Parker's blundering adaptation.

The performances are all terrific, but Together never jells as a compelling narrative.

I'm certainly not asking for car chases and explosions here, but this is a suspense film that's too "adult" for its own good, despite the fact that Redford, Dafoe, and Mirren (in particular) have rarely been more mature in their performances.

Although The Many Saints of Newark offers an alluring glimpse into Tony Soprano’s birth under a bad sign, it never shows the blue moon in the mobster’s eyes.

The story is really rather prosaic and character details are fairly nonexistent. Yet LaGravenese should be commended for his vision and tenacity, which has helped to create a piece that should be catnip to fans of the modern musical theatre – and in these post-Glee days, who isn’t?

The Exception’s line is not an easy one to walk, this marriage of soapy melodrama and real-world events, and with Courtney leading the parade, it’s destined for failure.

Mary Queen of Scots catches the outline but misses all the details.

Bertolucci returns to his native Italian soil for the first time in 15 years, and the result is a gorgeous albeit fairly insubstantial homecoming.

Allied is so full of itself it forgets to entertain most of the time. Here’s so not looking at you, kid.

Absolutely, 100% kickass. Now would someone please get busy on the "Tank Girl" do-over, please?

The Adjustment Bureau is, above all, a romance of chance and chaos theory of the heart. (In this respect, some viewers will recognize it as kin to the early Gwyneth Paltrow fantasy "Sliding Doors.")

The fifth Scream is an ultimate reflection of the beloved first film, and perhaps its only misstep is that the directing duo didn’t relish in their finale, soaking in some of the beautiful homages they visually set up. Even so, Scream is a blast, a solid setup for more to come.