Joe Neumaier

The result is a stunningly nervy sequel that vaporizes any worries that Abrams’ terrific 2009 reboot was a fluke.

Luke Evans, whose higher-profile work includes “Clash of the Titans,” this summer’s “Fast & Furious 6” and the next installments of “The Hobbit,” smolders embarrassingly. But he shouldn’t be embarrassed. In the shadows, that could be anyone.

A lot of Aftershock predictably involves screaming or shock cuts, and the movie features a blink-and-you-miss-it cameo from Selena Gomez.

Feiffer sometimes gets snagged on the look-at-me nature of her meta-performance, veering from pathological to pathetic, and not always in the best way.

This would-be satire earns an E for Effort for wanting to be to the advertising world what “Being There” was to television.

The film is a mystery uncovered like a detective story, wrapped in a love letter.

Cathy Moriarty and other Scorsese alums pop up, but these mean streets feel too derivative to thrill.

“Um” winds up as empty as its mean streets are phony.

As Richard Kuklinski, the Garden State guy who sleepwalks into an infamously deadly life he was born for, Shannon hits a whole other level.

It sharply fuses the humor and heart of the earlier films with a satisfyingly heavy-metal strength — and a darkness that’s more than earned.

Wahlberg and Johnson are the saving graces of an in-your-face movie.

Stripped of his former pretty-boy image, the Texas-born actor is snarly and gnarled, and understands what Nichols is aiming for. That’s crucial, as Mud needs something to stick to.

As a wry, knowing narrator guides us in and out of their symphonic affair, there’s no doubt the trip is worth it.

This terrific film certainly contains the spark of discovery.

The Big Wedding lets them all down with bottom-rung sitcom shtick and an undercurrent of squareness masquerading as absurdity.

Atmosphere is three-fourths of the game in a horror film, and The Lords of Salem has it in spades. It’s not too much to say that until this culty-witchy throwback chiller turns too bloody, it shows how far a little style can go.

Kosinski’s ultimately underwhelming film leads nowhere. As its palpable sense of dread — well-sustained in a gently cascading first hour — gives way to dead ends, this Omega Movie shoots itself in the foot.

Luckily, folks like Snoop and good sports like Sheen and, yes, Lohan, break up the monotony. Until, like an undead beastie, the boredom and dumb jokes come roaring back.

There’s a good chunk of info for those eager to know how the sausage gets made, as well as the facts of life and death surrounding what we consume. You just have to pluck the PR feathers and find the good parts.

It feels like a high-end perfume ad.

Boseman is watchful, winning and confident, but never saintly. Yet he keeps Robinson’s moral spine aligned with his skill and self-respect, showing how he needed all of those to succeed.

A frisky, feisty heist flick with brains and charisma, the movie may make a few errors, but they’re forgotten in the blink of an eye thanks to all the twists, turns and close shaves.

Sort of “An American Psycho’s European Vacation,” this indie dramatic thriller mixes sex and violence and still winds up dull.

Upstream Color is weird, but it’s worth the time.

The cutesy energy is just too much in this Aussie comedy that’s overly bemused by its quirkiness.

What Room 237 is really about is how movies inspire passion. Which is a great thing, even if it comes out in wack-job ways.

Unfortunately, the rest of writer-director Eran Creevy’s film just shows that the Brits, too, make good-looking but empty thrillers, just like in Hollywood.

The poetry in The Place Beyond the Pines can be elusive, but also easy to get lost in.