May not be grade-A prime, but it ain't chopped liver either.

“Caution: Contents may induce brain bleed.” That is, if you think too hard on the logic and mechanics of its time-travel conceit.

Does not go gentle into that good night.

Cinematographer Paul Guilhaume paints dreamy scenes of happiness, too, playing in the backyard with siblings, trying on a pink bikini – in these moments we see the most of Sasha’s personality.

Whether Ringer, with its mild comedy and milder messages about inclusiveness and tolerance, will be embraced by Knoxville's hardcore "Jackass" fans remains to be seen. But we can at least trust that the Farrellys will stay the course.

The film is often quietly humorous.

With acting legends Duvall and Jones in the lead roles, the story stays afloat, but occasionally these actors seem to be lurching around in a script that's too "small" for them.

For sheer, sepulchral eye candy at this most horror-ific time of year, del Toro’s Crimson Peak leaves Tim Burton – reigning misfit king of hyper-stylized, goth-y weirdness – in the dust and well-nigh forgotten.

The film is absolutely charming if a bit too predictable and glued more to sit-com narrative strategies and aesthetics than is healthy.

It would be easy to pigeonhole this as "Norma Rae" en L.A., and Padilla is at least as ingratiating and as much of a guy magnet as Sally Field was in that movie.

If anything, Daniela Forever feels overly familiar. Calling to mind other life-of-the-mind films, it suffers by comparison, falling short of the wowee-zowee visuals of Waking Life, the satisfyingly intricate mechanics of Inception, the soulfulness of Eternal Sunshine of the Spotless Mind.

Before the cocaine economy, Miami was a sleepy seaside hamlet, a "virgin city" with a permeable border and largely unprotected coastline.

At the end of the day, people won't be lining up at a Disney park to ride a clamshell into a ride based on this live-action version. And that tells you everything you need to know. Next time, maybe just give this kind of money to the ink and paint department.

Maria by Callas is not the place to look if you’re in search of a biography of the star.

Comedic touches aside (nearly all of which belong to Ben Stiller who's off on another, far more interesting, planet as the genuinely goofy Bwick), If Lucy Fell strives hard to be a serious romantic comedy for the Nineties. It almost succeeds. Schaeffer trips up, though, when he lets his philosophies get the better of him. Nothing stops If Lucy Fell faster than its mordant underpinnings, cute though they may be. It's “The Best Date Movie of the Nineties,” number 224 in a series. Collect 'em all.

Plenty of gore-slinging, wisecracking fun to be had, and yes, the repulsively convincing werewolf transformations and attacks still pack a breath-stopping wallop.

Although the movie's anti-war propaganda mission is clear, it nevertheless makes a strong case for asking questions and examining our country's imperialistic motives.

Much of the film is frankly ludicrous, but that does little to dispel its overall power and passion.

Make no mistake, I'm not saying Dr. Giggles is a cinematic watershed or anything like that, but it does manage to mix humor and horror in a way that very few films ever manage successfully.

Although the film’s character portraits are vividly drawn, they remain largely one-dimensional.

With its offbeat-dramedy-meets-sci-fi concept, Jules feels pulled right out of the world of indie cinema from 10 years ago. It’s in communion with the likes of Safety Not Guaranteed or Seeking A Friend for the End of the World: movies that revel in a superficial attempt at charm that’s undermined by a shallow understanding of their own characters, instead choosing to live and die by a determined sense of quirk wrapped up within their supposedly refreshing sense of genre-bending.

Where The Toll feels like its overdrawn is in the narrative. Even at a sparse 80 minutes, the build of the tension and set-up of Cami and Spencer's mistrusting relationship is too extended. If the film is asking asking you to pay it in time, the return on investment may seem a little low.

There are a million reasons why couples break up. If only We Broke Up had landed on one, they might have really had something here.

The reality of this film is that it is pretty innocent fare, for the most part, and Depardieu does prove his versatility by possessing a natural comic flair that eases him into the paunchy papa bear role.

It's a gorgeous albeit depressing mess, as distancing and despairing as a realpolitik wipeout.

As pleasantly amusing as Victoria & Abdul is, the film is really little more than another showcase for Judi Dench’s reigning talent.

Dragon should never be regarded as the utmost in historical veracity, though it certainly captures a great deal of the spirit and flavor of what we so fondly remember as the essence of Bruce Lee.

A quicker overall pace and trimmed dialogue might have lent the film more sparkle and zest, but it still makes it to the finish line with its decency intact.