The movie’s tone is hushed, restrained; emotional damage is crammed way back where no one can see it yet defines everything through a murky prism.

It’s a movie content to stay within the show’s comfort zone, changing things up mainly with flashier, 3-D visuals, a couple of which are dazzlers, and a theme that doesn’t connect in any notable way.

A new misadventure whose negligibly refined formula somehow ends up being more consistently entertaining.

Despite his neuroses, VanDyke displays self-awareness and humility, and a charisma that ranges from the goofiness of Owen Wilson to the grandiosity of his hero, Lawrence of Arabia.

This odd, ungainly western is harsh in its details, wayward in the telling, yet increasingly powerful as it wends its way back East toward civilization.

It’s a cheat, a cash grab, and it makes for 125 dystopian minutes of set-up with no resolution. But come back next November, folks, and we’ll show you the rest! They should have called it “Mockingjay, Part 1 — The Shakedown.” Or “The Hunger Games 3: Rubble Without a Cause.”

In a sense, there can be nothing ordinary about such an extraordinary place. Furthermore, Wiseman’s special gift as a filmmaker has been to show how searching attention reveals that there really is no such thing as ordinariness.

Humorless, pretentious black-and-white tone poem about a very young Abe Lincoln.

What you may not be prepared for is the way that humor does play a part in the story, in the sense that recognizing the total absurdity of a theocratic police state is one way to rise above fear and keep one’s mind free. In Rosewater, ridicule becomes a weapon of liberation.

It’s a gentle epic, based on a 10th-century Japanese folk tale, that uses pencils, ink, and impressionistic washes of color to convey a glowing visual otherworld, one that stands in contrast both to Takahata’s earlier work and the hard-edged lines and bright tones of much anime.

A cruelly precise, often bleakly comic account of upper-middle-class privilege coming unglued when the cosmos throws a curveball.

The Theory of Everything, in other words, is Jane’s movie as much as it is Stephen’s, and while Eddie Redmayne’s performance deserves every bit of praise and statuary it will get, Felicity Jones has the subtler, less showy role to play and matches him frame for frame.

Unfortunately, as the story builds toward tenderness, it’s undercut with slathering tongues and bare-chested stud-muffin shots.

Everyone has piled into this dumber, sillier, more consistently funny reprise with an enthusiasm that’s infectious, and not in a low-grade medical way.

The dialogue also reflects the material’s stage origins in ways that don’t always translate well.

Those looking for further enlightenment might want to pass on the feel-good cinematic hagiography known as Awake: The Life of Yogananda.

The fundamental value put forth in Brown’s “Sunday” sequel is not fearlessness but “family.”

A rousing movie that’s satisfyingly infused with traditional Disney sentiment.

There are enough indie clichés to blunt this movie’s edge.

Through patience, skill, discretion, and trust, Jesse Moss has taken a seemingly small town story and turned it into both a microcosm of today’s most urgent issues and a portrait of a single suffering soul.

The movie is “Gravity” cubed, an epic of space travel and human destiny that swings by Saturn, slingshots through a wormhole, and pinballs across a handful of planets on its way to a rendezvous with infinity, conveniently located inside a black hole.

In person, as seen in Fifi Howls From Happiness, Mitra Farahani’s ambitious and self-reflexive documentary of the artist’s last days, Mohassess enthusiastically acts out those traits. It’s a performance enhanced by his diabolical, phlegm-choked laughter at his own bleakly ironic pronouncements and denunciations of the world in general.

Jason Schwartzman is a fine actor, but he has a knack for creating characters you want to punch in the face, and Philip, who has a second novel coming out and is intent on burning all his bridges, is almost marvelously obnoxious.

Directed by splat-pack director Alexandre Aja (“Piranha 3D”) with uncharacteristic but still gruesome restraint, adapted from what seems a very busy novel by Joe Hill, Horns resembles an awkward collaboration between Nathaniel Hawthorne, Stephen King, and Rob Zombie.

Only Jane, as the cop who knows exactly what Mrs. Collins’s wayward daughter needs, has the sense of threat the movie is seeking. His and Woodley’s scenes together are dirty and alive.

Citzenfour is prosaic in its presentation and profoundly chilling in its details, and if you think Snowden is a traitor, you should probably see it. If you think he’s a hero, you should probably see it. If you haven’t made up your mind — well, you get the idea.

Nightcrawler is about TV news-video parasites, but the freakiest thing in it — the biggest bedbug of all — is Jake Gyllenhaal as the movie’s hero, Lou Bloom.

At Sundance, Whiplash quickly picked up the nickname “Full Metal Juilliard” on the basis of scenes in which Andrew, plucked from a late-night practice session to be the orchestra’s drummer, is raked over the coals by his new mentor. Horrifying as they are, these sequences are dazzling exercises in total humiliation.

The small Indonesian island of Bali still evokes images of a tropical paradise where Westerners can escape the discontents of the so-called developed world. Much of that romance lingers in Bitter Honey.

Birdman finds Iñárritu in the mood for play, and with a mighty cast that fields every pitch he throws.

The movie’s one big pitfall, really, is that Reeves’s character is so intently focused, he takes care of business a bit too quickly. Some final skirmishing and a tonally false sign-off feel like unconvincing bids to stretch the story to a more legit feature length.

Unlike other films that successfully explore abstractions, such as Wong Kar Wai’s “In the Mood for Love” or the memoiristic collages of Terence Davies, it doesn’t seem to have much going on beneath the drab surface.

Isn’t fate a funny thing? Especially when Nicholas Sparks makes it up. Filmmakers love to adapt his stuff because he puts together narratives riddled with contrived coincidences and implausibilities meant to seem like the workings of providence when in fact they are the creations of a hackneyed mind.

Though engrossing and aesthetically admirable, at times the humorless artiness verges on absurdity. It’s hard to take a film too seriously when plum jam and Bach’s “Chaconne” vie for equal cinematic significance.

Things bottom out when Zoe not only hooks up with another lover (there is not an ounce of body fat in this movie), but also misses her son’s soccer game. And up until then we were all having a good time.

So it is with St. Vincent, which might be Murray’s “Gran Torino” if you squint at it from one angle, or “Old Meatballs” if you come at it from another.

Ayer, who has dealt with charismatic bad boys before — he wrote the script for “Training Day” and directed the sharp police drama “End of Watch” — makes the paternal “Wardaddy” into a figure both monstrous and upstanding.

David Frankel’s film reduces an extraordinary life to a predictable template of bullying, resolve, success, disappointment, and platitudes — a pattern repeated two or three times until the genuinely moving finale.

The film’s energy is contagious.

It’s an engrossing portrait not only of government intrigue and crusading after the truth, but of media and their tangled motivations. Engrossing enough, in fact, that Cuesta needn’t try as hard as he occasionally does to heighten the drama and give it added flash.

So Sam Cullman, Jennifer Grausman, and Mark Becker, the directors of Art and Craft, have themselves an enticing subject in Landis’s activities. They do not have an enticing subject in Landis himself.

Orwellian paranoia doesn’t die, it just gets fresh trimmings, and while The Zero Theorem is as messy and overstuffed as Fibber McGilliam’s closet, its sorrow and anger and demented humor strike just enough fresh sparks to keep this career alive.

This is an unusual role for Mortensen, but after you’ve played a thinking woman’s hunk so long and so well, what else is there?

What the filmmakers come up with is a modestly likable mix of zany and gently warmhearted, even if they overdo both elements at times.

By the movie’s end, viewers will have had a soul-searing brush with the unthinkable that far exceeds any real horror film of recent memory, and surpasses in its impact more traditional features and documentaries about the subject.

A slick, ripsnorting character drama whose artistic ambitions are consistently neutralized by its commercial imperatives, puts Downey in a box from which even he can’t escape.

Though it features a plucky female protagonist, Annabelle still possesses the same medieval attitude toward women as “The Conjuring,” reducing the gender to the extremes of self-sacrificing mother and malevolent toy.

An elegantly made, almost unbearably depressing tale of WWII-era deprivation and survival.

When it comes to writing and directing movies, though, Murdoch has some work to do. “Girl” meanders narratively and with random chronology, some scenes playing like tepid music videos, others as unhelpful efforts at exposition, some as strained drama, and some as the genuine, funny, spontaneous interactions of gifted young people.

I thought of “That’s Life!” while watching Memphis, Tim Sutton’s sometimes forced, sometimes extraordinary tone poem about a modern-day bluesman. Enigmatic and brief — all of 79 minutes — the movie seems to fall into the cracks between documentary and fiction.

It’s one of those multi-character morality plays — think “American Beauty” meets “Crash” — and it will play especially well to freaked-out parents, even as it distances itself from them by acknowledging that the kids (most of them, anyway) are all right.

Perhaps Flynn, who did the adaptation, has been a little too faithful to her novel. The faux-punchiness of her dialogue doesn’t help matters. The characters sound like people trying to sound like people in the movies and not quite pulling it off.

It’s a relief to find a rock-doc that eschews the usual grainy hand-held wobble for steady camerawork and crisp compositions. The movie looks gorgeous — an artful frame into which Cave can pour his demons.

Add to those John Curran’s adaptation of Robyn Davidson’s autobiographical book “Tracks.” In it he presents a vision of nature that shimmers with uncanny beauty and eerie solitude, transcended by Mia Wasikowska in one of the best performances of the year.

Here is where All Is By My Side runs into trouble. The real Etchingham has said, forcibly, that this didn’t happen — not the beating nor her subsequent attempted suicide, shown in the film.

Signe Baumane opens her sardonically hilarious, sneakily moving, autobiographical animated feature, Rocks in My Pocket, with what looks like a darker version of one of those chipper psycho-pharmaceutical ads.

Though not everyone agrees, Ben Stiller’s “The Secret Life of Walter Mitty” came close to finding the secret for making a movie about the secret of happiness. Peter Chelsom’s Hector and the Search for Happiness tries hard, but fails. Miserably.

Flawed as it is, “River” reminds us where all the great music came from.

We never know them as characters, particularly father figure Fish, because screenwriters Irena Brignull and Adam Pava have them speak an un-translated, Jawa-Gollum gibberish, not English.

This Equalizer is a brooding, brutal origin tale, one that starts well but steadily caves into genre clichés. It’s a B-movie sheep in A-movie clothing, acceptable meathead mayhem as long as you know what you’re paying for.

The bitter, funny dialogue by director Craig Johnson and co-writer Mark Heyman gives the two stars room to work both comic and dramatic sides of their gifts.

It takes a personal rather than a political perspective, exploring the ambiguities of truth and individual identity rather than the complexities of an ongoing historical calamity. And though the human drama is hypnotically gripping, it comes at the expense of the bigger picture.

As tiresome as the relentless, indulgent inscrutability and lack of story momentum can be, it says something for the movie’s visceral power that there isn’t an urge to quit on it.

It’s entertaining enough if you turn your brain off.

It’s been a while since there’s been this much dead air onscreen; over and over, Smith sets up a sequence, lets his actors shpritz, and stands by as the energy fades into giggly catatonia.

It’s like a Parisian variation on Nicole Holofcener’s “Please Give,” or the premise of another PBS Masterpiece Theater series with Smith.

At once riveting and heartbreaking. This youngest daughter of Robert F. Kennedy has the good sense — far rarer among documentarians than you’d like to think — not to get in the way of her material.

Despite the artful, passionate performances by the cast, his experiment comes across more as contrivance than a work of thoughtful, aesthetic detachment.

The problem with this adaptation of Lawrence Block’s detective yarn isn’t that it casts Neeson in a role we’re seeing him play again and again. It’s that no one else in the movie makes a character feel nearly as broken-in and fully inhabited as he does.

Using a refreshingly gentle FX touch, Ball has successfully transposed the decaying, vine-covered concrete jungle look of his short onto this gorgeously-designed feature. The neophyte knows how to direct heart-pumping chase scenes and has coaxed surprisingly solid performances from his young ensemble cast, especially O’Brien and Poulter.

Stunningly insipid and pretentious.

The performances ratchet up to giddy near-hysteria, as Hilde toys with Solness’s randiness and repressed memory.

Some angst away from the dolphin tank feels like padding, but there’s enough bona fide narrative to please tomorrow’s marine biologists and their parents.

Hardy once again shows what quiet force and phenomenal range he has.

It’s an idea that could make for decent genre viewing, if only its cast had some range, and its indie reach didn’t exceed its mainstream-polished grasp.

The Last of Robin Hood plays like a laboratory control experiment gone wrong: What would happen if you made a movie with a great cast and terrible everything else?

The idea that documentarian Jeffrey Radice would make the episode both the hook and the opener for his film is to be expected — it’s an attention-grabbing story. But a hook is all it is.

Lem’s story is merely a springboard for Folman’s wildly sprawling meditations on what the advent of virtual performance means — for artistic integrity, creative spirit, celebrity culture, human identity, even our hold on reality.

Thunder falls into the common mistake of many children’s films — it underestimates its audience.

One of those lovely little movies that starts out being about a handful of people and ends up being about all of us. That’s a tricky act to pull off and the talented writer-director Ira Sachs stumbles occasionally over moments of self-conscious lyricism. But then the film recovers its balance, looks at its characters with fondness and with faith, and quietly soars.

Maybe not entirely depersonalized, however. Hogg has a point of view and a point to make, cryptic though they may be.

Though it touches on the usual themes of youthful innocence and imagination challenged by misfortune, and on occasion achieves moments of supremely subtle, sublimely exquisite detail, “Momo” strains when it comes to evoking whimsy and magic.

Like other offbeat and original efforts such as Spike Jonze’s “Her,” Jonathan Glazer’s “Under the Skin,” and Richard Ayaode’s dour “The Double,” it juggles genres, reverses expectations, and resorts to fantasy in order to explore the enigmas of gender, identity, and love.

Some might find the dual conclusions too blunt in their irony, but “Norte” does not try to be consoling. Crazy as Fabian’s ideas seem, they might be the ones that prevail.

If The Trip to Italy begins shakily, it ends with expansive bliss, a father and son reconnecting off the shores of Capri as Gustav Mahler’s art song “Ich Bin Der Welt Abhanden Gekommen (I Am Lost to the World)” sends everyone heart-stoppingly home.

The cast does capable work, but you’ll wish the movie concentrated more on the comedy, which has some zing, rather than the straighter elements, which quickly start to drag.

Sadly, the film rapidly devolves into an AARP version of a Jason Bourne-like vendetta, only bloodier and less meaningful.

The government, even under the new, more moderate leadership of President Hassan Rouhani, has reason for concern. Unlike Rasoulof and Panahi’s previous, more metaphorical films, this one confronts its subject head-on with unflinching candor.

Huppert’s amazing performance not only masters the physical rigors and deformations of her character, but more importantly captures her cold capriciousness and the enigmatic innocence that one of Maud’s friend’s labels “perverse.”

It makes for a structurally glitchy inspirational exercise whose climax carries all the goosebump-making drama of a Pats preseason game.

Violette demonstrates how suffering produces great art, and that the artist isn’t the only one who suffers for it.

Though at times Siddharth can resemble a well-photographed report on India’s social and economic ills, Mehta subtly employs different styles to sustain the poetry, poignancy, and drama.

Walking a line between droll comedy and a darker, more unsettling drama that the filmmakers aren’t quite up to, Frank is an entertaining curio with flashes of inspiration. That’s also a pretty good description of Frank’s music.

A mawkish, preposterous melodrama riddled with clichés, stereotypes, bad dialogue, and inept emotional manipulation.

You could argue that the only thing that’s automatic about A Dame to Kill For, really, is some of the firepower that its hardcases are packing.

It’s a preposterously overstuffed strategy that, go figure, not only works, but even cures a thing or two that ailed the previous movies.

Land Ho! is a hot spring of a movie: It fizzes a lot, and you come out feeling better than you went in.

Gibney lays out the full picture, availing himself of terrific concert footage, archival materials, and interviews with Fela’s colleagues and family members (including eldest son and musical heir Femi Kuti). The portrait that emerges is of a larger-than-life personality who seems to have been closer to those who didn’t know him than those who did. (Again, much like Brown.)