It's a film that benefits greatly from Clarkson's well-seasoned chops, given that the first act of October Gale -- while illuminating with regard to her character -- boasts precious little dialog.

It all adds up to weave an engaging story, and not just for its wealth of titillations. Many of the sex scenes, in fact, feel more clinical than anything else.

The real point of This is The End, however, is to make people laugh -- and it accomplishes that. Often, in fact -- and satisfyingly.

There are a number of laughs to be had in what ends up being an uneven but surprisingly likeable dose of low-calorie nonsense.

A fast-moving, fascinating and at times even fun documentary residing squarely at the intersection of sports, geopolitics and history.

Few of the film's secondary characters feel fully developed, with the possible exception of Nelsan Ellis' portrayal of Brown sidekick Bobby Byrd.

Foxcatcher isn't a film many viewers will clamor to rewatch. It's too chilly a film for that. At the same time, it's one that will suck them in -- and it will hold them while they're there.

This isn't a movie that pretends to be profound. It's meant purely as B-movie entertainment, and -- also like the "John Wick" films -- it's fully aware of that.

It also includes the elucidating, offering a rare glimpse at the architecture of Spinney's elaborate Big Bird costume.

John C. Reilly provides the voice of Ralph, and he's every bit as good as you'd expect in the role. It's Sarah Silverman, however, as his unlikely sidekick, and rescue subject, whose considerable charm threatens to steal the show.

In other words, Iron Man 3 -- once more delivering a satisfying combination of humor, action and dazzling set pieces -- provides everything fans of the franchise expect.

Still, it's all enjoyable enough, playing out like a cross between "Pride and Prejudice" and "Amistad" -- and a welcome change of pace for those trying to avoid the radioactive spiders and time-traveling mutants that have otherwise invaded the summer movie season.

Granted, it's not a movie that will stick with many viewers for any extended time after the closing credits roll. But, sort of like Pop Rocks and Coke, it's enjoyable while it does its fizzy, burbly thing.

Hitchcock purists will certainly take issue with some details, but Gervasi's film shouldn't be taken as an ironclad factual film docudrama. Rather, it is fact-inspired fiction -- a film based on real events but one that isn't shy about taking creative liberties. As long as viewers keep that in mind, Gervasi's stands to be a nice bit of murderous fun.

Vol. 1 functions reasonably well as a standalone film in its own right, playing out like a dose of mass therapy, an interesting, Von Trier-led sexploration of humankind's conflicted approach to sex: We love it, but we also fear it and are often thoroughly ashamed of it.

This is solidly a genre picture, and one that follows all the necessary conventions -- but it's also one that does it all very well. That means lots of big, dumb and loud action -- but it also means good, popcorny, summer fun.

As far as 'toons go, it's probably most reminiscent of Pixar's "The Incredibles," given that both are stories about superhero teams. There are also echoes of "How to Train Your Dragon" in the flying scenes, featuring little Hiro perched atop Baymax's back. But even then, Big Hero 6 still feels like its own, distinct creature.

Visually stunning.

Vinterberg's Far From the Madding Crowd is a lovely adaptation. What's more, it's downright entertaining.

This is a movie that, to its detriment, takes itself very, very seriously for most of its running time.

The problem is that the film must re-establish a great deal of mythology, much of which is already familiar to most moviegoers. Unfortunately, Webb's film never quite makes usshake the feeling that we've done all this before.

If viewed as a literal narrative, the post-war German drama Phoenix, with its implausibilities and contrivances, works only so well. If viewed as an allegory, on the other hand, it ends up as something else entirely -- something intriguing, complex and altogether moving.

Beneath all that genre eye candy, though, resides a smart and moving story that, after a somewhat slow-moving first hour, builds nicely to become an emotionally engaging drama.

Even when Laggies strains against its contrived conceit, his (Rockwell) chemistry with Knightley goes a long way in classing up the joint and making Shelton's film feel just deep enough to pass muster.

A melancholy but engrossing account of an obsessive relationship that led to murder. [27 Jan 1995, p.L23]

It wasn't until Gibney's film was already largely shot that the truth caught up to Armstrong.

The result is a film that feels breezy at times, but also grounded in a sense of emotional honesty.

Here's a movie that is far from perfect, far from seamless and far from unassailable. But it manages to be a fun diversion anyway -- and one that will likely leave audiences hungry for more.