Bruce Ingram

When Asante finally closes with a close-up of Belle’s portrait, there’s something in her eyes and her smile that suggests so much more.

Director Mark Mori, whose last feature documentary was the 1991 exposé “Building Bombs,” does an entertaining job of conveying Page’s entire life in her own words and illustrating why she has become a worldwide symbol of liberated sexuality.

It’s easy to see how an unhappy transition to suburban mommyhood might be enough to unhinge any self-respecting former punk rocker but, even so, it’s a little hard to take the angst-ridden mid-life shenanigans in Kelly & Cal seriously.

Unfortunately, the film’s more moving and memorable moments are mixed in with a king-size (if not quite K2-size) jumble of too much information.

[A] basically brainless but intermittently adrenalizing, mostly-just-for-kids reboot.

[A] remarkably tepid sequel to the surprise 2010 hit.

Adult World does have some smart, funny and wincingly painful things to say about the desire to make art vs. the desire to be famous for it.

Breathe In is all simmer, no boil, despite an abrupt, overwrought, agonizing emotional climax that’s too much, too late.

Fighting — presented with Jackson’s usual double helpings of visual splendor, emotional oomph and low-key comedy — is what Battle of the Five Armies is all about.

Populaire has no interest in rewriting the rules of romantic comedy, but it does run through the expected paces with admirable style.

There’s not too much sentiment, but not too little, either. Just enough to make you feel misty-eyed in a way that doesn’t necessarily indicate incipient glaucoma.

I’m So Excited! is random, episodic and essentially meaningless, but it’s also a hoot. And if that’s all you’re looking for, you might as well get it from the master.

Everyone involved is far too talented to mess this up too badly, but it soon becomes clear that Curtis intends to reduce us to quivering sobs mixed with heartfelt gratitude for every blessed day of life.

The gray, drab monotony of the setting seeps into the marrow of the prison drama Camp X-Ray, though it’s invigorated, somewhat, by strong central performances from actors on opposite sides of a locked steel door.

If the stream-of-consciousness, imagery-trumps-everything films of Terrence Malick tend to try your patience, this beautifully, beatifically boring imitation by a Malick protégé might be more than the better angels of your nature can endure.

The story is so-so, in other words, but the pummeling is primo.

A little more fury might have been a whole lot better.

While Bhopal: A Prayer for Rain, an earnest account of the world’s worst industrial accident, certainly has its heart in the right place, it’s not good that the closing titles about the cold, brutal facts of the aftermath stir more outrage than the preceding docudrama.

In The Purge: Anarchy, unfortunately, grim and brutal is pretty much all we get.

Sure, it’s fun to see the Governator and the Italian Stallion he-manning it up together feature-length for the first time — the screen is barely big enough to contain the two of them — but the prison-break movie Escape Plan is unworthy of the momentous occasion.

It’s nothing new for sure, but writer/director David Twohy...throws in enough entertaining touches to maintain interest — despite an overlong two-hour running time.

It’s generally a respectful homage that has every bit as much stylishness and visual flair.

Yelchin is agreeably offbeat and convincingly two-fisted in the role, and Sommers, who’s always had a knack for fast-paced action with a light, comic touch, provides a few entertaining scenes here and there. Unfortunately, the horrific stuff in Odd Thomas seems gorily incompatible with the film’s otherwise breezy screenplay.

[An] unabashedly derivative but nonetheless entertaining, pitch-black Norwegian crime comedy.

It’s meant to be a soufflé-light charmer, but the bland, predictable French comedy Le Chef basically falls flat.

It’s interesting that When the Game Stands Tall is essentially a movie about losing.

It’s no secret that Jason Statham demonstrates remarkable flair when it comes to bone-crunching action-movie mayhem, but he deserves special props for making some of the more outrageous flights of macho fantasy in Wild Card seem credible.

Vlad’s numerous speeches about love, honor and family grow tedious, along with the film’s wooden dialogue in general. And it quickly becomes obvious that Dracula Untold is more interested in being cool than making sense.