Joe Neumaier

This beautifully observed drama creates an intimate feel and gently observed moments of connection and angst. Then things move forward with almost too heavy of a heart.

The success here is mostly due to nuanced performances and an appreciation for what these kinds of films require.

Unfortunately, there’s a more potent power present here: dullness.

“Natural” perfectly describes Nolte’s performance, too. With his growly voice and bear-like aura, he might be dismissed as a walking sight gag, but don’t let that fool you. Nolte’s way with a joke is nimble, and his delivery is spot-on.

It’s rare when a psychological drama gets us into a character’s head without tricks or a voiceover. This drama from Alex Ross Perry burrows so deep that it’s scary.

Jason Schwartzman does the full Bill Murray in 7 Chinese Brothers.

There’s no fleeing the clunkiness in No Escape.

The cool cast includes casual drop-ins from Sam Rockwell, Melanie Lynskey and Sam Elliott. The actors give off the feeling that we’ve wandered into the middle of a conversation among friends. This being a Swanberg movie, that’s kind of what is happening, complete with tiny epiphanies and people you want to hear keep talking.

Those who came of age during Knievel’s rise, rise and fall will enjoy the fun moments. But this family-sanctioned film comes up short in terms of objectivity.

Director Juan Feldman trusts his actors to charm us, which they do — up to a point. But there’s only so much that can be wrung out of this spinster-meets-exotic stud, “Summertime”-lite affair.

A terrific, quirky New York-set character piece.

This stoners-meet-government-assassins mashup is as meandering and paranoid as a guy toking up in front of City Hall. Sometimes that’s amusing, but most of the time it’s tiring.

The story here, like a lot of bar bands, goes loud to cover up mediocrity. When Streep sings, though, so does the film.

A work of words as lovely as “The Prophet” deserves a better artistic interpretation than this animated venture, which consists mostly of pedestrian, ’70s-quality visuals.

This terrific, full-meal chronicle of the men and their mouths lets us hear from them not only during debates, but also in subsequent interviews, memoirs and articles.

After a while, Vacation starts to reek like a car when the kids have their shoes off. Really, though, that stench is a studio digging through its old titles, trying to find something fresh to remake.

If you’re searching for smart, soulful teen entertainment, you can start looking inside Paper Towns.

When boxing cliches work, they can deliver a knockout. When they don’t, as in Southpaw, we get just punch-drunk.

Some segments are too long, but Famous Nathan contains a unique flavor that history-loving New Yorkers should relish.

Stories about mythic figures at the end of their days are compelling — but they still need some zing. That’s what Mr. Holmes is missing.

Because of his easygoing comedy persona, Rudd is a perfect choice — and another example of Marvel’s savvy casting. He never takes anything too seriously, but he seems invested in the emotional side of the story.

It may not be one of his finest roles or one of his more memorable films. But in its own way, Boulevard may be one that says the most about him.

There’s politics involved, along with personal stories, extraordinary tense standoffs and down-and-dirty drug business.

There are parts of “Escape From New York,” “Air Force One,” “Cliffhanger” and countless Luc Besson movies strewn about. Big Game doesn’t stomp on their memory, but like an overenthusiastic fan, it does smother them with amateurish zeal.

Director Andrea Di Stefano’s filmmaking debut has a spotty sense of urgency, but we get to know neither Nick nor Escobar, so both the innocence and the fiery threat lack impact.

Saldana has a harder lift, as Maggie is striving for something better yet has to often be reactive. In scenes with the adorable Wolodarsky and Aufderheide, she listens and acts intently. But there are too many times when she’s forced to just look worried. Still, Saldana, like so many things in Forbes’ likable but tricky film, does her best in a tough situation.

Most of the young men interviewed by Berg will be seen, and heard, by many audiences for the first time. Their voices are hard to forget.

High art swings sort of low in this watchable but thematically repetitive drama.