I, Frankenstein IMAX 3D **

A so-so stab at creating another "Underworld," unfortunately "I, Frankenstein" is a dry and humorless exercise in myth-making. There are some visually arresting moments, especially in the battle scenes, and the thrill of flying with gargoyles, so the IMAX and 3D are not totally wasted.

As in "Underworld," which shares a writer and three producers with this film, there is a war hidden from humans that has gone on for centuries. This one is between the demons from below, and God's army of flying gargoyles based in a cathedral. Both sides can pass for human, and seldom show their true identities.

Eckhart performs well in the many fight scenes, and got lean and ripped for the part, but his clenched teeth one-note performance fails to convey the torment of the creature that the writers were aiming for. Bill Nighy plays a sophisticated demon in an expensive suit quite well. Yvonne Strahovski provides a decorative presence as a lovely doctor and researcher caught up unawares in the demons' plot, and Miranda Otto projects a regal decisiveness as the queen of the gargoyles.

Jack Ryan: Shadow Recruit IMAX ***

A passable popcorn spy thriller, with current tech gadgets and savvy links to the social media zeitgeist, fight and car-chase action, and a hero who uses his brain. It's Chris Pine's appeal that holds it all together, with fine work from Kenneth Branagh and Kiera Knightly. The story is clear enough, although a murder attempt out of nowhere, while exciting, is not explained or particularly logical. Other than that, the plot makes sense, and we are told just enough to keep up the suspense and to provide those satisfying aha moments.

This latest incarnation of the Tom Clancy characters starts with an extended introduction to the Chris Pine version of Jack Ryan, who interrupted his doctoral dissertation after 9/11 to fight in Afghanistan. Gravely injured in a helicopter crash where he showed bravery and selfless concern for his men, he met a lovely doctor in training (Kiera Knightly) during his agonizing rehab. Clearly the kind of smart patriot who would be of use, he's recruited by the CIA in the person of naval officer Thomas Harper (Kevin Costner) to finish his studies and get embedded on Wall Street.

Ten years later, he's a trusted analyst on Wall Street in a firm with Russian partners and living with the lovely doctor. Something odd is going on with the Russian accounts, so Jack goes to Moscow to audit. It's this trip that changes his job description from desk worker to operations. The scheme is ambitious and a huge threat to the U.S. The Russian company is led by a cold operator with deep ties to the government (an excellent Kenneth Branagh, who also directed). Their showdown in Moscow is the heart of the movie and deftly handled. With the machinery now clearly in place, I wouldn't mind seeing another episode.

The Legend of Hercules 3D **

In this gladiator version of the Hercules legend Kellan Lutz looks the part, performs well in the fight scenes and passably in the romantic interludes, but is clearly out of his league when any real acting is required. In those scenes his lieutenant Sotiris (a competent Liam McIntyre) steps in, and in a crucial scene convinces their owner that they should go back to Greece for a big fight and the chance to earn their freedom. There's little of the clever trickster Hercules here, or of his pansexual prowess either for that matter.

The Hercules story gets a just war twist as Alcmene, the mother of Alcides/Hercules, goes to Hera, jealous wife of Zeus, for help to quell her husband's wonton warring. So instead of trying to keep Zeus from her bed, Hera names the offspring that will come to Queen Alcmene. And the boy will come after his brother, not as a twin, which I guess could get too complicated to deal with in a fight movie. Strangely then, Hera, normally the tormentor of her husband's illegitimate son, becomes a promoter of Hercules.

The story becomes one of rival brothers, the weak older Iphicles (a lackluster Liam Garrigan) promoted by his murderous father King Amphitryon (a fiery Scott Adkins). When Iphicles takes credit for the slaying of the Nemean lion, it's clear he's a vain and duplicitous coward. The story also borrows freely from the Christian tradition as there is a Samson-like scene, and supernatural powers are granted to Hercules when he acknowledges Zeus as his heavenly father.

After a slow first half the action picks up, and several of the fight scenes add some punch to the proceedings. Gaia Weiss as the princess both brothers love is beautiful in a mostly decorative part, and as Alcmene Roxanne McKee (of "Games of Thrones") is a comparative standout in a mediocre movie.

August: Osage County ***

A Southern gothic family tale transplanted to the plains of Oklahoma, "August: Osage County" has the sweaty heat and long-hidden secrets worthy of Faulkner or Williams. As the Weston clan gathers for a funeral there are more than enough pills, liquor, and wine to keep the tongues of the three sisters and the woman who raised them wagging.

Considering the time we spend with the brutal Violet (a scenery-chewing Meryl Streep), it's something of a wonder that her daughters turned out as well as they did. There's Barbara (a very strong Julia Roberts) whose marriage has hit a rough patch, Karen (a tarted up Juliette Lewis), and poor Ivy (a long-suffering Julianne Nicholson). There are plenty of revelations, and the men in their lives, played by an able stable of actors - Chris Cooper, Dermot Mulroney, Ewan McGregor, Benedict Cumberbatch - have their share of secrets as well.

The screenplay is adapted by the playwright of the original himself, Tracy Letts, but as so often happens, attempts to open up the play still leave the remnants of the fourth wall and a stuffy literary atmosphere. Remarkable mostly for the performances of Streep and Roberts, who do break free from the constraints imposed by the structure, "August: Osage County" delivers some strong emotions, a good dose of humor, and portraits of four fearsome women.

Her ****

In the not-too-distant future a sensitive L.A. writer develops a relationship with the personality of his new computer operating system. That's the premise of "Her," an incredibly well-written, acted, and realized movie from Spike Jonze.

Theodore (Joaquin Phoenix) makes his living creating "beautiful handwritten letters" for others, a luxury item in a world immersed in technology. His sentiments show intelligence, care, sincerity, and style. But he's in a bad place personally and putting off signing his final divorce papers. He's not looking for anyone really, but the idea of an operating system with a personality intrigues him. He chooses a female voice rather nonchalantly, and what he gets is a breathy, chatty, curious OS (voiced by Scarlett Johansson).

Soon their conversations - and they are conversations - go beyond organizing his hard drive, and get into feelings, history, plans, and dreams, on both sides. A relationship develops. As the two start to bond, an intimacy blossoms. For both sides, it's a process of discovery, and for Theodore a reassessment of who he is and how he got there. It's a fascinating, highly original trip, which you might expect from the director of "Being John Malkovich" and writer/director of "Where the Wild Things Are." And let's not forget he's a producer of the "Jackass" franchise. So there is also, needless to say, a good dose of humor.

The vision here is focused and convincing, despite the fantastical premise. Lending credence to that vision is the seamless creation of a future LA. This foggy basin is populated by many high-rise towers, a quiet and efficient network of public trains, and a style of clothing and interiors that one feels could easily have grown out of what we have today. Add great dialog and an examination of what it means to be in a relationship, and you have a movie that is timeless.