Sara Stewart

There’s such a genuine sweetness to Johnson you can’t help digging the shtick.

It’s not without its quirks (and occasional pacing issues), but Sister Aimee is a true original — apparently, just like its namesake.

Finally, someone took the source material at its terribly written word and stopped treating the whole affair so seriously.

If you’re into seeing Johnny Depp and Robert Pattinson play truly despicable government officials, have I got a movie for you!

It’s a heavy lift to find any single thing that happens here remotely plausible, and ultimately it almost seems a horror movie misinterpreted as a romance. File this one under “The Fault in Our Screenplay.”

Mostly, though, it’s the same old story: Bad mutants versus good mutants, with the fate of us humans — mostly off-screen, disturbingly expendable — hanging in the balance.

Sweet and funny — largely thanks to James Corden in the lead role — it’s never particularly surprising.

Hate to say it, but this film ain’t half the satire it could have been.

Ultimately, though, Saint Laurent is beautifully dressed with little substance, which doesn’t do much to subvert a prevailing stereotype about the industry as a whole.

Leong’s film isn’t particularly stylish, but it makes the most of the climactic Knicks footage, as well as showcasing a sweetly goofy side of the 25-year-old, now playing for the Houston Rockets.

Nancy Meyers is known for her obsession with kitchens — sun-drenched, timelessly chic architectural marvels that provide a safe haven for all the director’s characters. The Intern puts a new spin on this trope: Robert De Niro is the kitchen.

More wobbly moments of Woman Walks Ahead seem to teeter on the edge of both white-saviorism and becoming a Harlequin romance.

It’s too bad there’s already a movie out this week called “The Shallows”; it would work so perfectly for the new film from Nicholas Winding Refn (“Drive”).

For a movie called Breathe, Andy Serkis’ directorial debut is curiously airless — or maybe just quintessentially British, all stiff upper lip and light on emoting.

Gregg, who previously directed the very dark comedy “Choke,” never quite settles on a tone; from the opening scenes, in which Molly Shannon plays a neurotic stage mom and Allison Janney a chilly casting agent, it seems he’s going that way again, but a dramatic twist sends the film into less plausible territory.

It will probably not surprise you to learn that this film, generically directed by Christian Ditter (“Love, Rosie”), was written by the people behind 2009’s “He’s Just Not That Into You.” Seven years later, guess what? He’s still not that into you! And I wouldn’t be, either, not with this lot.

If you’re going to call your sci-fi movie Valerian and the City of a Thousand Planets, you’d better be sure Valerian (Dane DeHaan) is a guy your audience can get behind. Director Luc Besson styles him as a cocky space rogue, but Valerian is weak sauce. And so is this movie.

For a company that purports to be all about sparking creativity, asking a kid to follow Ikea-evocative directions to assemble an X-wing fighter seems at odds with the mission.

There’s no better time than summer for a fun, brainless thriller. All you need is three key ingredients: a charismatic hero, a hateable villain and a snappy screenplay...Skyscraper, regrettably, cuts likable star Dwayne “The Rock” Johnson off at the knees by failing to deliver on the other two.

It’s the first R-rated, woman-directed comedy in years! — here’s the rub: The funniest thing about it is the men.

As a distinctly not-insider, though, I would have benefited more from a broader portrait of the woman herself, and how she became such a legend.

Charmingly profane, with a buzzing riot-grrrl soundtrack, “Izzy” is a stylish twist on an ’80s trope: Here it’s the woman as pathetic supplicant, trying to win back someone who’s moved on.

Thrillers can be a valid Hollywood escape, but this one made me as uncomfortable as its hero is with small talk.

Jane Wants a Boyfriend loses momentum careening between Dushku’s Bianca and Krause’s Jane — the latter of whom is far more interesting.

The romance between Winslet and Schoenaerts — billed as the film’s centerpiece — is, regrettably, never really allowed to bloom.

A big, dark film that should satisfy the many fans of the Orson Scott Card novel and engage newcomers, too.

I’ll say one thing for The Call: Its ending is actually a bit of a surprise. Just when you think it couldn’t get any stupider, pow! I’ll be damned, Hollywood, you still have the power to blindside.

Pollak obviously had fun, but you get the feeling the best bits never made it in.