As a movie, Escape From Tomorrow is at best pretty good, but the way it was made makes it something unique, possibly memorable.

A revenge-fantasy Western that wants to luxuriate in its B-movie roots but suffers from dull direction and an even duller central performance.

That's a lot of talent and star power at play here, made all the more conspicuous in that they don't really get much to work with. Not only is the movie just so-so, but the parts themselves aren't much.

The hits just keep on coming in Muscle Shoals, a hugely entertaining, perhaps overlong, documentary about the renowned recording studios in the small Alabama town of the film's title. It's mandatory viewing for fans of the classic rock, soul and rhythm and blues of the 1960s and '70s.

Rarely do two lines go by without Fellowes changing something, always for the worse.

As much as Machete Kills is a reunion and continued revival, it also represents a sort of gentrification of the exploitation genre. It's probably time to move on and let a new generation of kids take a crack at making bad films.

This is an intense and complicated story, and the film doesn't rush it. It lets it unfold and build, methodically.

Leong is a San Francisco native, and the documentary has a strong local feel. Lin's high school basketball coach Peter Diepenbrock and his shooting coach Doc Scheppler are interviewed extensively, as are both parents and Lin's brothers.

As a grab bag of reminiscences by veteran funny people, bolstered with richly entertaining performance footage, it's boffo.

The movie saves most of its modest number of jolts for its last quarter or so, which makes them all the more intense. They stick in your craw - and be warned, they're not for the squeamish.

The chief virtues of Parkland are journalistic in the best sense.

Runner Runner is less than mediocre, but it's not repellent, which means that to watch it is to root for it - and to be disappointed.

A ludicrous, yet oddly engaging documentary.

See Gravity in theaters, because on television something will be lost. Alfonso Cuarón has made a rare film whose mood, soul and profundity is bound up with its images. To see such images diminished would be to see a lesser film, perhaps even a pointless one.

On the surface, this may seem like a bleak film, because it's so raw. But ultimately this is a movie about the mysterious ways in which we find a path toward healing, and its beautiful final moments stay with you.

A bonbon, not of a full-course meal. Foodies will smack their lips over many delectable shots of victuals prepared by the film's engaging protagonist, a provincial woman chosen to cook for the president of France. As a story, though, it's insubstantial - there's conflict here, but it feels perfunctory.

The suspenseful love story Out in the Dark isn't a political film by any stretch, but the intrigue and prejudices of the Arab-Israeli conflict certainly fuel the romance and thrills of this entertaining, taut movie.

A sturdy and sophisticated crime drama from the Philippines that takes a pretty gruesome situation and enriches its presentation with lots of human detail.

The fortunate thing about for Inequality for All is that, for all its good information and useful insight, it also has an appealing person at its center: Robert Reich, the economics expert and Berkeley professor who was also the labor secretary under Bill Clinton.

If it seems like a stupid idea, well, it is. This is one of those romantic comedies that rely on wild coincidences and misunderstandings that could be cleared up with a simple cell phone call, but then, that wouldn't help the "plot" along.

A humorous yet unfocused romp, so unwilling to settle on a single theme that hyperactivity medication should be handed out with the 3-D glasses.

Neither does it help that, despite the wit and literacy of Enough Sad, its form is straight out of a teen romance: A cool kid starts dating someone less cool, and then engages in some elaborate deception that, if found out, will threaten the progress of young love. The funny thing is, if Enough Said were converted wholesale into a high school romance, the characters' behavior might ring more true.

The ego trips and sexuality and driving are all filmed with equal intensity, to the point where the emotions and flesh and crunched metal seem to blend together. The movie's only major problem is that the tension sometimes overwhelms.

Don Jon deserves praise for wearing its message lightly and yet for daring to present such a lecture in today's Internet-drenched environment. Gordon-Levitt may be blithe in discussing pornography, but his movie nonetheless asserts that porn is addictive and destructive, that it intrudes on intimacy, and that it short-circuits the capacities for interaction and also, ultimately, for pleasure. That's a serious subject and a committed viewpoint, handled with wit and intelligence.

The film's hymn of praise quickly grows cloying, thanks partly to a relentless musical soundtrack.

There are just so many ways Carine Roitfeld can say she loves fashion in Mademoiselle C, a somewhat interesting documentary that brings us into the inner workings of a magazine, but harps a bit too much on her ideas of fashion and style.

Blue Caprice tells its story in fragments, a provocative strategy that sometimes works to chilling effect, sometimes not.

Part travelogue, part narrative and part art-history class. The class is what's best about this pretty decent movie.