Like Someone in Love is not a complicated story, but in Kiarostami’s telling, it is a rich one, and a rewarding one, too.

There’s a lot to be angry about. And though Rosebraugh shines a light on plenty of jaw-dropping corruption, it plays out like a shrill rallying cry without catharsis for the already initiated.

Dominik Moll downplays the overtly scandalous nature of the story, at least for a while, with a leisurely pace heavy on imagery. He’s made a beautiful-looking film that portends disaster. And disaster arrives, eventually. It just takes its time getting there.

There’s far too little of MacArthur’s strutting on display. Granted, that’s not the movie Webber was making. But you kind of wish it was.

This trip isn’t so notable. It’s not bad. Some bits are enjoyable. But ultimately, other than some genuinely impressive visuals, it never makes a compelling-enough case to justify its existence.

As an analysis of the causes of migration, it is one-dimensional and unconvincing. But as a social history of Latinos in America, it is provocative and fascinating. And as an indictment of decades of economic injustice and covert military action committed in the name of freedom, it is devastating.

Barsky’s film is light on biographical detail before Koch’s first term began, in 1978. That’s probably fitting. Koch obviously lived for the job.

Herzog’s longing for the ideological purity in which these lives are lived, free of paperwork and bureaucracy, taxes and technology, drives the film, which lacks an overall story arc. And that longing makes the title’s veracity a little suspect.

Using the interviews along with news footage and occasional re-enactments, Moreh conducts a kind of primer in the organization’s history, which is, in its own way, a history of modern Israel. It’s fascinating.

One reason it works so well: The film always looks believable, and it’s easy to get wrapped into Singer’s fairy-tale world.

The lyrical book is filled with touches of magical realism. On the other hand, the movie is sorely lacking in both magic and realism. It’s all very empty and blah.

Although Johnson performs admirably in the drama-heavy role — far better than many of his action-hero colleagues would manage — John Matthews is a character as boring as his name.

A Glimpse Inside the Mind of Charles Swan III is a curious mess, a movie that doesn’t really seem to have any reason to exist, other than maybe to give writer and director Roman Coppola and star Charlie Sheen something to do for a few weeks.

Safe Haven plays out less like a love story than it does a two-hour audition tape Julianne Hough commissioned to land a lucrative lip-gloss-modeling contract.

Beautiful Creatures rises above the rabble thanks to an eminently watchable cast and a sharp screenplay by writer-director Richard LaGravenese.

While some of the sequels have been entertaining enough, A Good Day to Die Hard signals that it may be a better day for John McClane to retire.

What it lacks in originality, it makes up for in Lee’s performance. He is effectively stern as the king. More importantly, he makes Ha-seon funny and movingly genuine.

The whole film is an exercise in trust and the lack thereof. In the end, it’s a kind of horror film, really, a reminder that these sorts of things were endured by so many for so long, with hope an unlikely ally.

Everyone would have been better off if the editors had just cobbled together a 90-minute blooper reel and called it a day.

Ultimately, think of the movie as a puzzle box in which all the pieces fit together wonderfully well. Once you step back and take a look at how it’s all put together, you have to marvel at how cleverly constructed the whole thing is.

It's good enough for a brainless night of fun at the movies, though your enjoyment might hinge on your nostalgia for old-fashioned dude movies, complete with a soundtrack of wailing electric-guitar solos and a wealth of random topless babes. Unfortunately, it could have been a lot better if someone had taken out a hit on the script.

There isn't a cynical bone in this film's achingly sincere body. And it's not really a horror movie, unless the "horror" in question is the all-consuming awkwardness of young love.

Pacino, long ago having given up subtlety for bombast, continues along that path here, but he's still fun to watch.

Sound City is a music geek's dream, a rollicking look at a dumpy California studio where a lot of musicians found magic. It's also a bit of a mess, like all good rock and roll ought to be.

Hoffman wisely gives his actors plenty of room to maneuver, and that they do. It's surprisingly fun to watch them play against each other. It's not as if you're going to learn anything new from Quartet. It's too straightforward for that. But that doesn't mean you won't enjoy seeing old pros at work. And you won't be exhausted by the end of it.

As with "The Central Park Five," you come away from the film impressed by the storytelling but enraged by the facts. It's outrageous that this kind of thing happens, but Berg does an outstanding job of showing us how it does.

The atmosphere is appropriately creepy, and there are some starts, if not outright scares...But it just gets stupid.

There are plot twists galore, but they unfold in ham-fisted fashion, as if the screenwriter (newbie Brian Tucker) didn't know how to layer the mystery. Instead, the movie simply drops these secrets out of nowhere, in clunky fashion.