Love, to quote that woozy old ballad, is indeed a many-splendored thing that takes many forms — a multiplicity that Love the film is quietly alive to.

The movie won’t carve a spot in the classic action-comedy canon, but it’s easily digested fun, which is no bad thing.

One of Them Days, produced by Issa Rae, is the kind of big-laughs, mid-budget theatrical comedy that used to be more common; it’s a shame TriStar scheduled a January release, because the film had the potential to be a summer hit. Its two charismatic leads alone make it worth seeing in a theater, surrounded by a crowd primed for a good time.

There’s no shortage of intensity or gore, not to mention brisk efficiency in the way the script isolates a fragile family unit before plunging them into lycanthropic mayhem.

The unapologetic sentimentality doesn’t make this bittersweet comedy-drama any less touching or insightful in its observation of spiky family interactions when end-of-life issues and questions of inheritance cause sparks.

Unfortunately, the superbly orchestrated car chase/shootout, taking place both in a tunnel and on winding mountain roads, occurs nearly two hours into this equally bloated sequel’s 144-minute running time. Until then, you spend a lot of time watching the characters luxuriate in the European settings via consuming copious amounts of croissants, gelato and tiny cups of coffee.

If making a film is challenging under fortunate circumstances, one can only imagine the obstacles faced by filmmakers trying to survive annihilation.

I got bogged down frequently in the familiarity and intentional messiness of the story that Veiel and producer Sandra Maischberger chose to tell, while at the same time wondering what sense a wholly unaware viewer would be able to make of this woman and the long shadow she still casts.

Baby John is the sort of film that pummels you with star power (including a Salman Khan cameo), extravagant visuals, ear-bleeding sound, fantastically gaudy songs and a story that twists and turns with flashbacks, double identities and assorted villains, but despite all that flash fails to hold you.

Sonic the Hedgehog 3 gets the job done, and should provide entertaining diversion for families during the holiday season.

There are instances where you can see the director experimenting and attempting to disturb Disney’s imposing order, deploying close-ups, almost ground-level pans and strategically sweeping views to find warmth and tactility within a cold technique.

Egerton and Bateman’s performances elevate Carry-On and contribute significantly to the film’s overall success. Even when the repeated showdowns between the TSA agent and traveler lose potency, these actors maintain the narrative’s tension and viewer investment.

With its focus on the news gathering process, Waves affirms the importance of independent and ethical reporting.

This film has sweat, ambition, audacity. And yet, we have to ask: How much Pushpa is too much Pushpa? Because three hours and 20 minutes is definitely an overdose.

Punishingly dull.

The Bibi Files paints a damning portrait of its subject’s machinations to stay in power.

Whatever script flaws there are in terms of structure, plot momentum and an opaque central character, A Complete Unknown offers rewards in its lived-in performances and in the exhilarating music sequences that propel it forward. For many audiences with an affection for Dylan’s music and the era in general, that will be enough.

The battle sequences in particular are stunningly rendered, and will certainly benefit from being viewed on the largest possible premium and large-format screens.

The Six Triple Eight relates a little-known story that fairly demanded to be told, and does it full justice.

In lieu of revelations, though, what keeps Martha engaging is watching Cutler thrust and parry with his subject.

Do stars Shea Whigham and Carrie Coon manage to make the material feel both fresh and engaging? Yes.

The frenetic editing might leave some viewers dizzy as they try to sort sober realities from sensational storytelling, but Grimonprez makes thrilling connections that should push viewers to pursue their own research.

It’s a Gothic horror nightmare heaving with sumptuous visual detail, groaning under the weight of portentous dread, writhing with both convulsive violence and sweaty eroticism and leavened by sly hints of fiendish camp.

To their credit, the directors aren’t afraid to take things way too far — which could be considered a quality in and of itself, but not one that’s sustainable for nearly 90 minutes of action.

It should hardly come as a revelation that Black’s hardworking comedic efforts are the film’s saving grace.

While the highly anticipated follow-up features stunning animation, it lacks the cohesive narrative and emotional intimacy that made its predecessor special.

Tedeschi’s film is a declaration of love for the Beatles, but what distinguishes it is its curiosity about the America of that time, beyond the bubble of the four Scousers who can hardly believe they’re drinking cocktails in Miami.

The film flaunts vivid animation and some pretty striking moments, captured with close-ups and unexpected angles — but similar to Skydance Animation’s debut venture Luck, Spellbound inspires a sense of déjà vu.