Steadman is a fascinating talent with a fascinating process and a fascinating perspective on the world. Maybe somebody will make a definitive documentary about him one day. Unfortunately, For No Good Reason isn't it.

Intermittently interesting, but well-intentioned, it almost makes up for "The Tourist."

As a result, Hereafter isn't so deep that it will change the way many people think about the afterlife. But it is heartfelt and thoughtful and, in a way, comforting.

Enchanting enough to cast a spell over fans, of Jolie, of Disney, of "Sleeping Beauty" -- and of pure, cinematic escapism.

It's probably best not to think very hard about any of it -- just dummy up and laugh along.

The result is a film with sporadic outbursts of wackiness, but one that (Oh, Fortuna's Wheel!) never gains traction from a storytelling standpoint.

Concussion is at its best when it's digging into the science of Omalu's work, chronicling his discovery and his subsequent David-vs.-Goliath fight to get people to acknowledge that he was right. Less effective is the portrayal of the personal toll his fight cost him.

Director Martin Campbell does a nice job of creating suspense, and Ray Winstone stands out for his performance as a conflicted hitman.

A giddy blend of style and attitude that plays like a lightweight cross between a Guy Ritchie and Wes Anderson film.

It's pretty obvious that Almodovar at least was having fun making I'm So Excited. Ditto for his actors, who admirably go all-in for these roles. I'm glad they're having a good time. After all, somebody has to find a reason get excited about I'm So Excited.

So we get no zippy, Tony Stark-flavored one-liners. No comic-relief characters. No nonsense. But that means we also get no up, up and away, either.

In other words, For a Good Time is not a good time. For that, you'll have to dust off your Nintendo and reacquaint yourself with "The Legend of Zelda" -- and hope that one of these days somebody can give "Bridesmaids" some real competition.

As beautiful as the animation is, Zemeckis' real masterstroke is combining it with a loyalty to Dickens' story.

For most of its two-hour running time, Almost Christmas is merely almost funny.

Lee keeps things afloat with an appealing air of levity, including a fun but restrained use of split-screen, an homage to the 1970 doc, as well as cameos by that movie's Port-O-San guy and its peace-sign-flashing nuns.

McDonald's film never really finds its footing -- and The Eagle never takes flight.

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.

Never elevated beyond much more than mere presidential puffery.

Tony Scott pushes all the right buttons, crafting a worthy -- and in many ways, a superior -- update.

It has its scares — but it all also feels exceedingly familiar, right up to the obligatory set-up for what the studio clearly hopes will be a sequel.

It goes down far more easily than the budget-friendly tripe so often passed off as a romantic comedy here in the streaming era.

The resulting coming-of-age story isn't necessarily an uplifting one. It is harsh. It is melancholy. It is sometimes uncomfortable to watch and predictable here and there. But it also boasts a feeling of authenticity.

While Washington and Wahlberg help make sure the flawed 2 Guns isn't too bad, it's hard not to think that it could have been better.

Maybe it's a touch twee, but Curtis' film is far too uplifting, too life-affirming and too good-natured to do anything but embrace.

Unlike in some of his other recent films, Shyamalan never overreaches this time. Instead, he keeps things simple and focuses on the story at hand.

The result is a film with a scattered feel. That's particularly true in the film's rushed third act, as it skips around all herky-jerky, cramming in resolutions to the various conflicts but never quite giving any of them adequate time to gel.

The ultimate goal of a film like this, of course, is to change minds. As compelling a case as it builds, Promised Land isn't quite persuasive enough to be able to promise to do that.

The Croods does a lot of things well -- even if it does none of them extraordinarily. The end result is a solidly middle-of-the-road bit of animation -- but the kind that is easily forgotten as soon as something more evolved, and original, comes along.