Ultimately, the slow boil bleakness of the script, with its subtle ruminations of what it is to go on in a time of hopelessness, is what marks Settlers apart, even as it looks and feels like so many of the post-apocalyptic drought-plagued SF dramas of the last few years.

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.

Lacking a typically vivid color palette and bright song & dance routines, Photograph is almost the antithesis of a Bollywood epic. In fact, the film’s small, quiet moments are its most alluring feature, although it’s possible the film may ultimately be too quiet for its own good.

Even though Mrs. Hyde loses the trees for the forest, any movie starring Huppert (Elle, The Ceremony) is radiant, and it should be evident that tossing in a special effect or a message will be superfluous.

Final verdict: Cast is excellent; movie is OK; men and women are soooo different.

This frothy little comedy is a pleasant enough amusement. It's not a big belly-laugh of a comedy, but it's quickly paced, fun and entertaining.

Visually stunning, Mistress of Evil achieves full fairy-tale splendor – flowers glow, trees walk, and fairies of all shapes, sizes, and colors take flight. The elaborate costumes, especially those worn by Michelle Pfeiffer’s Queen Ingrith, are noteworthy and will surely inspire many a Halloween look. In short, this is where the second Maleficent excels, an instant crowd-pleaser for any fantasy-loving child or adult.

This veteran actor is always great, and it's just a little bit sad that he has to play a big, scary demon for us to sit up and finally take notice.

It's stoner comedy of the most absurd kind, part fryboy mental drizzle, part wink-wink audience baiting, and wholly, utterly funny.

Won't ever be accused of breaking new ground; it's too busy entertaining to worry about being original.

Escape the Field won’t change the world, but it is a solid showing for everyone involved, and it works overtime to keep the audience entertained throughout – at least until the sequel-bait ending for a movie that will probably never happen.

As a comedian, Davidson's run on SNL has arguably seen him stagnate. At least here, derivative as it is, there's a sense that he's self-critically stretching himself, analyzing how he's getting by on his aging dude-bro charm.

The saving quality here is Thompson’s performance as the prickly Travers.

Unfortunately, the story drags for the first half of the film, and the downright cheesy score and ending song disrupt scenes that could have carried the emotional weight better on their own.

Unfortunately, there's not much of a story to go with Hunter's engaging performance and LaGravenese's words.

Not that anyone was asking for a reboot of the series that is perhaps best remembered as the launching pad for Johnny Depp's career, but here it comes anyway. The film will probably gain several points on the likability scale for its sheer unexpectedness and modest ambitions.

In the end, Blackballed doesn't take home the winner's cup, but its genial stick-to-itiveness and reasonably well-aimed humor earn the film at least a good sportsmanship trophy.

As sequels go, Double Tap delivers the goods, but exists in a realm that feels more like a second serving than a new taste treat. It still tastes good, but nothing ever replicates the joy of the first bite. Just ask a zombie.

The Secret Life of Walter Mitty is a very pretty production – pretty colors, pretty scenery, pretty bromides – and a busy one, too, which helps distract us from the sad fact that the movie is generous and humane but not all that interesting.

Coppola’s rejuvenated sense of career is a welcome addition to the world of filmmaking, even if the two films he’s made in the new millennium (2007’s "Youth Without Youth" and now this) are not up to his own self-set high standards.

The occasionally contrived music-video slicky edge, and the fact that there's no way on God's green earth that what takes place in Assisted Living happens in one day, it's a noble effort.

Life at least deserves a nod for supplying the mostly dramatic actress with her first starring comedic role.

Conceptually, The Accountant kills it, but in terms of execution, The Accountant doesn’t add up.

PAW Patrol: The Movie is bigger and prettier than the TV show, but it's still PAW Patrol. What makes it worth the time investment for kids is that it's really about introducing the street-smart long-haired Dachshund Liberty (Martin) into the team, while giving a little drama to Chase's life as he processes some old trauma about being a stray in the big city.

The film does much more than showcase eight years of a top photojournalist’s career. This is a film about evolution, about how Souza learned to use his voice.

At times, it’s a bit like being cornered and regaled by actor Bill Nighy’s aging rocker Billy Mack from "Love Actually," but certainly more interesting, and a rewarding and informative document of some unlikely visionaries of maximum rock & roll.

As the camera moves through the tall grass of this new world, there comes the realization that we could be within any one of Terrence Malick's movies, any one of the previous three stunners he has made in his 35-year-long career.

Depends on the two actors who all but carry it.