Lou Lumenick

This joyless, 10-megaton bomb fails in just about every imaginable way, as well as some you couldn’t possibly imagine.

Charlotte Rampling, Geraldine Chaplin and Mathieu Amalric contribute cameo appearances in the The Forbidden Room, a visual feast that may be a bit overwhelming for those unfamiliar with Maddin’s work.

The Martian is a straightforward and thrilling survival-and-rescue adventure, without the metaphysical and emotional trappings of, say, “Interstellar.’’ It’s pure fun.

It’s a disappointment as a movie, though Shannon is especially fine in a rare sympathetic role.

In the end, The Walk finds a graceful way to pay tribute not only to Petit’s bravery and determination — but to the thousands lost on 9/11 in the buildings this daredevil loved so much.

With thinly drawn characters, uneven performances and tin-eared dialogue, Stonewall plays at best like a musical without the songs.

While highly entertaining and sometimes inspired, Black Mass is more like Scorsese lite. In perhaps the most memorable sequence, Bulger sardonically tests a childhood friend (Joel Edgerton) for loyalty by teasing out a “secret” steak sauce in what’s basically a reworking/homage of Joe Pesci’s famous “I’m funny, how?” scene in “GoodFellas.”

Be warned that Wolf Totem, featuring one of the final scores by the late great James Horner, is probably too brutal for younger children and more sensitive animal lovers.

Perhaps this year’s timeliest film — as well as, unfortunately, one of the hardest to sit through.

Daniel Lee’s elaborate Chinese historical action epic Dragon Blade certainly gets points for creative casting, as well as its gorgeous widescreen visuals.

If you thought Matthew Broderick looked uncomfortable playing “himself” in “Trainwreck,” wait till you get a load of the actor portraying a married man who wonders if he’s gay in Neil LaBute’s mean-spirited comedy Dirty Weekend.

A Walk in the Woods is broad as a barn door, with two stars who have minimal chemistry — and there’s not much in the way of reflection about mortality.

Even an engaging performance by Margot Robbie as the proverbial last woman on Earth isn’t enough to save Z for Zachariah from becoming yet another ploddingly pretentious Sundance dud.

Tomlin and Elliot relive their characters’ pain and anger so deeply that they could very well both end up with Oscar nominations.

A screwball farce that pulls off a pitifully low percentage of its gags, even with a star-crammed cast.

One of the summer’s most entertaining and provocative movies.

A lousy script, unfocused direction, incoherent editing, shockingly terrible special effects — and, probably, panicked studio executives — have left its four talented stars muddling through a dull superhero origin story with zero payoff.

Short, sweet, charming and often very funny, Shaun the Sheep Movie has essentially no intelligible dialogue and doesn’t need any.

The geniuses behind the new film just don’t understand the difference between genuine subversiveness and pointless vulgarity.

“Risky Business” it’s not, and Delevingne is no Rebecca De Mornay.

Too much screen time is devoted to producers Lloyd and Susan Ecker, fans who serve as on-screen narrators and serve up tidbits from Tucker’s 400 scrapbooks, some of which, frankly, seem highly improbable.

Irrational Man is so clumsily staged and lethargically paced that it makes such clunkers as “Small Time Crooks” and “Cassandra’s Dream” look like minor classics.

Mr. Holmes, derived from a novel by Mitch Cullin, isn’t quite as deep or as poignant, but amply rewards McKellen and Holmes fans willing to go with its leisurely pace.

Even by the modest standards of the genre, the ending is jaw-droppingly ridiculous.

The dance routines are so hilariously spectacular — and the film is such good-naturedly inclusive fun — that you may not miss the absence of anything resembling dramatic conflict in what’s close to a feature-length concert film.

Big Game is goofy fun, whether Jackson is rolling down a hill in a freezer, the kid is trying to stop a bazooka with an arrow, or we’re witnessing other stunts that are just too preposterous to describe.

Director Boaz Yakin (“Remember the Titans”) indulges in an awful lot of gunplay for a PG-rated family film, but sure knows how to stage a dirt-bike race. The Belgian malinoises who play Max way out-act the humans.

Cam (based on the director’s real-life father) is so charming and gifted in various ways that it’s easy to enjoy this fanciful look at a bohemian mixed-race family.