Representing the 78-year-old writer and director at his perfunctory worst, Magic in the Moonlight is an unfunny, unromantic comedy.

It's not always pretty, and it's not always exciting, but you genuinely don't know from one moment to the next how these characters will behave.

This is an incredibly creative film, but, unlike other Gondry films such as "Eternal Sunshine of the Spotless Mind" and the documentary "Is the Man Who Is Tall Happy?" it doesn't add up to much.

It's easy to get carried away with movies like this, which lend themselves to fanboy hype. It's not a perfect movie. But it is one that is hugely enjoyable, bears repeated viewings and will be as funny in 10 years (or 50) as it is now. And that's pretty swell.

Get On Up... has some problems in the storytelling department, but Boseman tackles with gusto the unenviable task of capturing Brown.

There's a welcome lack of pretension to the proceedings. Stalwarts like Hurt and Ian McShane are on hand to class up the joint — everyone's got a British accent except for Johnson — while the predictable story bludgeons its way towards an inevitable conclusion.

The road-trip comedy is well-traveled territory, especially in indie films. But there's something unexpectedly refreshing about Land Ho!

There are a few scares in Come Back to Me. They would be a lot scarier if we either hadn't seen them coming, or hadn't seen them before.

The struggle between faith and reason somehow gets sidetracked, resulting in a sometimes silly, too-obvious journey.

There is very little on the screen to capture your attention.

Hoffman was a genius, a tremendously gifted actor who could shine in almost any role... A Most Wanted Man may not be the best example of this, but it certainly adds to the evidence.

Lucy is insane, makes very little sense, doesn't stand up to scrutiny and is an absolute blast.

There's nothing surprising or fresh about these people, their problems or their pairing, each character fitting snugly into his or her familiar archetype.

It's a noble attempt at meaningful comedy-drama, but Braff struggles with shifting tones while mismanaging his own character. It's easier to appreciate the effort than it is to enjoy the film.

Not that inarticulate characters can't be compelling if they are written with subtlety, acted with insight and, most of all, framed by a directorial vision, but Hellion, despite a promising debut from Wiggins, falls short in at least two of the above.

For a movie filled with amateur porn, sex toys, cocaine and Cameron Diaz's butt, "Sex Tape" is awfully tame. You're in greater danger of taking a nap than needing a safe word.

Boyhood is not just a great movie, it's a landmark achievement in film.

You'd expect the sequel to be an improvement based on production values alone, and you would be right, but not by much.

Half of a Yellow Sun winds up being one of those movies in which a pesky event of great historical import keeps getting in the way of a soap-opera romance.

"Whitey" paints an ugly picture, but a compelling one nonetheless, and one that will put every Boston crime movie you see in a different light.

It's wider than it is deep, but Andrew Rossi's documentary is a good primer on an issue that, in varying degrees, affects almost everyone.

Writer-director Amat Escalante was named best director at the 2013 Cannes Film Festival for this project, and although it obviously is made with some skill, it also is unrelentingly dire.

The performances are certainly compelling.

Eschewing a tidy wrap-up, Reeves doesn't leave us feeling manipulated, as so often happens in films like this. Instead, we want to know where the story goes from here, and that's no small accomplishment.

Everything is overwrought, every circumstance a potential tragedy. Humor is largely absent.

Life Itself is a joy for people who love movies or who love anything with an unwavering passion.

In The Internet's Own Boy, writer-director Brian Knappenberger ("We Are Legion: The Story of the Hacktivists") paints a portrait of Swartz as a martyr for the information age, but ultimately the story falls short of such mythic ambition.

Although everything here works for the most part, there is also a definite lack of oomph as the movie pushes toward the inevitable climax.