Any fan of acting — any fan of movies — will be thrilled.

Despite his roots as an over-the-top stand-up comedian, Williams long ago proved himself to be one of those rare actors who can truly inhabit a role, and “Boulevard” is no exception. But that’s not always enough to keep the viewer’s eyes glued to the screen.

The ending is stunning, a brilliant and forceful reclamation that doesn’t necessarily provide answers, but does provide hard-earned satisfaction.

Inexpert execution, lazy attention to detail and a lackluster lead performance conspire to render a juicy mystery rather boring.

It’s an assured debut from a rising star that nails tone and pace. It would be a solid summer thriller were it not grossly undermined by its astonishingly regressive treatment of its leading lady.

Shaun the Sheep Movie manages to be smart, moving and hilarious without the inclusion of a single word of dialogue.

This is a talented cast working for a talented director in a film that never reaches the heights it should have.

There was a cry from Wallace fans when Segel was cast (some are still up in arms), but he’s terrific. So is Eisenberg, in an even more difficult role.

At first, it’s fun and shiny, then you’re left with a crumpled mess on the floor.

Stark’s turgid approach feels both pompous and cold, and the film never connects emotionally.

It’s an interesting film, consistently entertaining, a mile wide and an inch deep.

A LEGO Brickumentary feels like one of those cheerful corporate videos that gets screened at team meetings, designed to rouse employees into a rah-rah fervor. The down side: Most videos of that ilk don’t last for 90 minutes.

This is a funny movie, in places.

McQuarrie delivers a tense, eye-popping amusement-park ride that’s almost as exciting as it is forgettable.

Good for its uncommonly level-headed characters, less so for viewers watching a movie in which not much happens.

Batkid Begins is a good movie about great intentions and a large group of people coming together to make a stranger most of them will never meet happy.

Rodriguez and Taylor are terrific. Their confidence is infectious, yet they never let us forget the challenges their lives offer.

Allen builds to a climax that is ridiculous and a comment on … I don’t know. Fate? Folly? There are plenty of both in Irrational Man, but they’re not often a comfortable mix.

We’ve seen the elements that make up Paper Towns before, but that’s OK. Schreier proves adept at avoiding clichés, and is helped by his actors.

The visual effects are impressive, and there is a certain kick to seeing the human characters dodging barrels in a life-size Donkey Kong. But we don’t really care about the humans; here, at least, Q*bert is more endearing than Adam Sandler.

Southpaw is all about the fist. There’s no delicate footwork here, no lingering grace notes. It’s a film played entirely in power chords.

Shining is nothing new for McKellen, a brilliant actor, and it's interesting to see how he and Condon portray Holmes' faculties at different times.

On the plus side, Jones is a really good makeup artist, and he is adept at creating gross-out dead people and wounds, and violent acts intense enough that they make you want to look away. On the minus side, the acting and story are so bad you want to look away anyway. Follow that instinct.

Director Eran Riklis starts the film off with a playful, whimsical tone that grows increasingly darker as things progress. It reflects the life of the movie's protagonist, which finds him facing challenges that would make most people bitter.

What's nice is how smart the film is. Schumer gives a nod to plenty of other romantic comedies, not to make fun of them but to honor them. Being funny is hard work and she has put in the hours of toil.

The problem with Peyton Reed's film is that when he shrinks the always-affable Paul Rudd, he shrinks a big part of Rudd's charisma, too.

Some documentaries are about answers. Others are about questions. Cartel Land is about the hazy territory in between.

The Tribe is that rare breed of film so masterful in execution it requires watching once, yet so devastating you may never be able to stomach seeing it again.