Lou Lumenick

Worth seeing just for the dramatization of the making of “Good Vibrations” alone. But there’s much more to savor in this biopic — a rare high note in the drone of so much summer dreck.

Oblivious to both narrative logic and the laws of physics, the cliché-filled San Andreas doesn’t nearly have the star power of earlier, better disaster movies it borrows from like “The Poseidon Adventure,” “Earthquake” and “The Towering Inferno.”

The film never adds up to the sum of its parts, effectively a two-hour trailer for a movie I’d still be interested in seeing.

Playing a slightly autobiographical role — reinforced by a karaoke sequence that gently nods to “Duets,” the final film directed by Danner’s late real-life husband, Bruce Paltrow, and starring their daughter Gwyneth — Danner shines in scene after scene.

This spectacularly great reboot is surprisingly owned not by Hardy, who is fine, but by Charlize Theron.

Morgan Freeman and Diane Keaton have unexpectedly great chemistry in this warm and funny comedy.

This is the sort of film that will admittedly make some people uncomfortable, and that’s sort of the point.

Ride sounds a bit like a Lifetime movie, but in Hunt’s capable hands it’s a brisk, funny and touching comedy for boomers.

The pleasant but forgettable Adult Beginners strains a bit too hard for a happy ending, and tends to lay on the schmaltz and metaphors (like the swim class that gives the film its title) with a trowel.

Soggy, strictly by-the-numbers crime thriller.

More funny than scary.

Franco’s distancing routine helps sink True Story, an already turgid and tone-deaf adaptation of a self-serving memoir by a disgraced New York Times reporter (played by two-time Oscar nominee Jonah Hill) who bonds with a murderer he’s trying to exploit.

Coming down too hard on this load of schmaltz — as I said when reviewing my first Sparks adaptation back in 2002 — feels like taking a baseball bat to a sack full of newborn kittens.

Could easily have become a schmaltzy variation on “Whiplash.” But it’s not, thanks to astringent direction by François Girard (“The Red Violin’’), an excellent cast and heavenly young voices.

Even the great Helen Mirren can do only so much to elevate this relentlessly mediocre, fact-inspired drama.

The choppily edited and thoroughly wooden Serena utterly fails to catch fire, even when everything literally goes up in flames. So despite its big stars, it’s getting only a token theatrical release.

Noah Baumbach’s While We’re Young amounts to the most hilarious Woody Allen movie in forever.

You know you’re in for a long haul when Kate Winslet’s clipboard-wielding Jeanine, leader of the Erudite faction, comes off less like a Hillary Clinton than a weary Applebee’s supervisor at the end of a 14-hour shift in this plodding sequel to “Divergent.”

Certainly watchable, but don’t go expecting much in the way of surprises.

The documentary was filmed in the 1990s by Denny Tedesco, whose father Tommy is credited as the most recorded guitarist in history, including the instantly identifiable themes to “Bonanza” and “Mission: Impossible.”

A painfully earnest and totally unfunny magic-realist fable set on the Lower East Side that works in no way whatsoever.

“Short Circuit” meets “RoboCop” — with asides to “WALL-E,” “E.T.,” “The Road Warrior” and many other better movies — in Chappie, an interminable, violent, incoherent and wearying R-rated sci-fi action comedy.

This sequel sorely misses the presence of Tom Wilkinson, whose out-of-the-closet character grounded the first film (but died at the end).

There’s no doubt at all that the schlocky The Lazarus Effect should have been euthanized and shipped directly to video rather than haunting movie theaters, however briefly.

Hard-core Hollywood haters will best appreciate Maps to the Stars, a campy poison-pen letter to Tinseltown that makes “Sunset Boulevard’’ look like a tourism infomercial by comparison.

Mostly, the gorgeously shot Queen and Country depicts Bill and his more rebellious mate Percy pursuing beautiful women with varying degrees of success — and pulling pranks on their exasperated superiors, hilariously portrayed by David Thewlis and Richard E. Grant.

Let us now praise Anna Kendrick, who is positively great in the small-scale The Last Five Years — so utterly wonderful that this adaptation of an off-Broadway musical deserves better than a token theatrical release to support its distribution via video-on-demand.

Lawrence’s script for The Rewrite could have used one, and his direction is uneven, but it’s still rewarding watching Grant dispensing his dithery charm surrounded by old pros.