Love Is All You Need is entirely predictable, and that’s OK in a film as lovingly made, well acted and enjoyable as this.

Gordon and Abel (who delivers one of the longest yawns in screen history) are howls as husband and wife. Their long, lean buddies seem custom-made for slapstick humor. Keaton would approve.

There are so many echoes of “The Umbrellas of Cherbourg” that it starts to feel like a barely disguised sequel. But those reminders, and the rather trite journey-of-self plot, are just decoration. This tender film works to remind us of how much we still love Deneuve, and succeeds in scene after scene.

Be advised: The film opens with a warning about “flashing lights and hallucinatory images,” and, while effectively unsettling, these do eventually get a little hard on the eyes.

Would have benefited from a tighter focus. There are too many interviews with crazies - and Levin's failed attempt to get Jewish entertainers to discuss "The Passion of the Christ" should have ended up on the cutting room floor.

It’s an impressively realistic touch from a studio that’s neither Disney nor DreamWorks.

None of this is particularly innovative, although Garcia and the elder Farmiga develop a nice spark and a gentle humor in their characters’ stolen day together.

This is a handsome movie, rich in period detail, but the stately pace slows to a crawl in the second half.

Though both Tierney and Bomer’s characters also veer into stereotype — her uptight disapproval, his sassiness — writer-director Timothy McNeil still crafts a fairly moving tribute to the notion, as Lin-Manuel Miranda once put it, that “love is love is love.”

An affable comedy that, unfortunately, has too many characters and subplots for its own good. The film also could do without the stereotypical character of a gay wedding planner who is supposed to be funny -- but is just embarrassing and clichéd.

Provides a different take on its subject than many of us are accustomed to: Nelson Mandela is no Martin Luther King Jr., and he was far more radical than even Malcolm X. If you’re under the impression that his ideas got him imprisoned for 25 years, think again: It was his bombs.

This documentary, which begins at a low key, gradually becomes intense and psychologically complicated.

This carefully observed slice of life is dragged down by the dreary and distracting hand-held camerawork.

Red has more snappy joy in store than practically all of last summer's busted blockbusters.

What everyone will remember about Goosebumps is . . . nothing. Except that it was kinda like “Gremlins.”

This is Beatty’s first film in 15 years, a project he’s been working on for 40 years, and it’s immensely pleasing to see him in such fine form. Or, as his obsessive-compulsive subject would say, such fine form. Such fine form.

Earnest and predictable.

Few of the increasingly far-fetched events that first-time writer-director Neil Burger follows up with are terribly convincing, which is a pity, considering Barry's terrific performance.

This is an overlong film interesting chiefly for its performances.

See it only for Paul Bettany's performance.

Unfortunately, the mind and motivation of Otomo -- remain a mystery.

Starts out promisingly, but quickly sinks under the weight of its own plot twists, ponderous pacing and Val Kilmer's monotonous performance as a ruthless special-ops agent.

Basinger appears to be literally phoning in from another movie in the highly improbable, maniacally action-packed thriller-cum-comedy Cellular.

Since they seem like real people we want them to work out their differences. In the second half, their story is nearly lost in favor of lots of documentary footage of the actual protests. This stuff was pretty ho-hum to look at two years ago, and it hasn't gotten more interesting with age.

This rousing, fact-based Norwegian movie covers an unusual subject -- the resistance movement in that country during World War II, whose best-known depiction came in "Edge of Darkness," a 1943 Hollywood adventure movie starring Errol Flynn as a stalwart fisherman outwitting the Nazi occupiers.

Gandhi is talented enough, and compassionate enough, that his tour of the human need to believe in something becomes not just mocking, but touching.

So why isn’t They Came Together more uniformly hilarious? Perhaps it’s that elusive problem of trying to explain why a thing is funny in the first place: Spelling it out deflates the joke.

Unpretentious and unexpectedly moving.