It’s weird-stupid more than good-stupid.

The movie bogs down only toward the finish, when it turns into a metahuman free-for-all.

A taut, engrossing action movie about real-life heroes, so why is it a disappointment? Because director Peter Berg is telling the wrong story.

The result is a story that’s awfully scattered thematically, but one with such inventive wit and screwball-quick pacing that issues like spongy motivation hardly seem to matter.

What they don’t quite make clear, and perhaps it is impossible to do so, is what really happened in this odd episode of international espionage epitomizing movie-mogul tyranny.

John Landis’s “Animal House” (1978) this is not.

Aussie Rosalie Ham’s quirky gothic novel is too tonally erratic to be completely satisfying. But we do get two Kates for the price of one, in a sense, as this crazy quilt of a movie allows her to play both entertainingly vampy and vulnerable.

Lupita Nyong’o (“12 Years a Slave”) finally gets a movie role worthy of her status as an Oscar winner. She isn’t hidden behind pixels, as in “Star Wars: The Force Awakens” or “The Jungle Book.” You can see her. She’s magnificent.

Of course what’s most interesting of all is the art. Huystee’s many closeups and slow pans over Bosch’s teeming backgrounds are transfixing, unsettling, and a rare privilege.

It ain’t Shakespeare, or even Kurosawa. But it’s an acceptable remake of a western that itself was an acceptable remake of one of the greatest movies ever made. Enjoyable, even, until the last act proves how dull an overextended gun battle can get.

It’s a long, jangling, melodious soak, rich with backstage incident and wall-to-wall hits.

These are some of the questions raised and left on the table in the fascinating but frustratingly murky Author: The JT Leroy Story, a documentary by Jeff Feuerzeig that’s worth seeing if only to argue with the movie and with yourself.

The film shifts back and forth in time. It works like memory that way, but the memories are Johnson’s, not the viewer’s, which makes the absence of some discernible organizing principle a real drawback.

“Baby” is to Helen Fielding’s original 1996 novel and its 2001 movie adaptation what “Sex and the City 2” was to the HBO series — a cause not for celebration but overdue burial.

The upshot is that Blair Witch comes to the party very late and very tired, and it doesn’t improve from there.

As always, it’s a good idea to do your homework before or after seeing an Oliver Stone movie. You may come out convinced of his point of view and still feel hustled by how he got you there.

While Morris From America trundles along familiar tracks, Hartigan’s eye for detail and individuality yields enough dividends to keep the film moving tartly and congenially along.

Because of the film’s earnest awkwardness, these excursions into the demimonde come off as campy.

The sardonic laughs include title cards with the name of each character who has joined the ranks of the disappeared.

The Wild Life, while pleasant, is just too flat to meet the challenge.

As with “American Sniper,” Sully gets a little gooey in the final scenes, opting for a simplistic celebration of American know-how, where everything up to that point has been darker and more nuanced. Whether you want to accept it or not, Eastwood remains one of the best and most quixotic filmmakers we have, torn between jingoism and doubt, exceptionalism and despair.

Sachs doesn’t push the tragic aspects of Little Men, but they’re there, looming behind the life-goes-on vibe of the final scenes and waiting for you to work it out on the way home.

Krasinski infuses The Hollars with familiar wry humor, but he also delivers a film that’s unexpectedly rich with sweetly moving moments.

The film comes across as an irksome contrivance. What’s meant to communicate the mysterious, even taboo allure of playing chameleon instead just leaves us scoffing.

At its best, the movie is provocative, sleekly assured, and a legit showcase for its intriguingly deep ensemble

A sweeping romantic period drama, heavy with themes of love and duty and fate, lifted up by cinematic craft and great performances.

All right-thinking minds will properly detest the movie. I have to admit I laughed my asparagus off.

The strength of Kopple’s film (as opposed to the strength of Sharon Jones, which is mighty) is that it honestly depicts the vulnerabilities of an indomitable woman.