The movie’s OK, nothing more.

A very entertaining romantic comedy, conventional on the surface while standing all sorts of genre clichés and gender assumptions discreetly on their heads. Its subversions are lower-case, embedded in the laughs, but they’re there and they matter.

Despite the self-conscious derivativeness and allusions, Tsai’s debut already demonstrates the contrariness and motifs that have distinguished him as a unique, difficult, and transcendent filmmaker.

Behind the cool, nonjudgmental gaze of Cartel Land is a despair that never comes to terms with itself.

The movie takes a decent “Twilight Zone” idea -- what if you had a second chance at youth? -- and runs it into the ground with watchable but diminishing returns.

Occasionally the camera gets jumbled around, blacks out, and hisses with static as if it had been tossed in a dryer. Then it regains composure and reveals — an old playbill! A figure in a mask with a noose! The birth of a new franchise and the death of a great genre.

Mitch Winehouse has disavowed this movie and his portrayal in it, but it’s hard to argue with the scene where he shows up on St. Lucia, where Amy has fled from the hounds of the global media, with a reality-show camera crew of his own.

You’ll have to appreciate what fleeting cleverness you can here.

Hunter has a scene with Pacino in a cafeteria where she expresses a degree of emotional pain, just through how she looks at him and holds her head, that’s at once awful to see and magnificent. It’s hard to figure out what Pacino saw in the script. What Hunter saw was this scene and getting to act with Pacino.

The film captures both the claustrophobic and melancholic mood of Giger’s house, and also, perhaps, his mind.

The first hour of Magic Mike XXL is deadly.

"I'll be back," the man said, and he kept the promise, but I'm not sure we wanted him back like this.

A bonbon of embarrassment comedy.

But, oh, the action. Tommila and Jackson have a couple of escape sequences that are exhilaratingly choreographed, never mind that one employs a meat freezer as its key prop. Kids should dig these bits. After all, off-kilter as Helander’s sensibility continues to be, he’s got a passion for popcorn-movie energy that can be contagious — especially when he’s not trashing Santa.

The film is engrossing and entertaining if sometimes trite and manipulative and totally bogus.

The 100-Year-Old Man may appeal to viewers who like the madcap and the whimsical, no matter how self-conscious. Me, I’ll take Max von Sydow’s moroseness any day.

Unlike “Something in the Air,” or even “Saint Laurent,” Eden is utterly apolitical.

These promising themes aren’t given much more than surface treatment, making for a movie as conveniently tidy as some coming-home schmaltz on basic cable.

She (Seyfried) provides some real charm, something the movie otherwise lacks. She also seems like a plausible part of the action in a way that Kunis never did.

As a directorial debut, Losing Ground astonishes with its assurance, subtlety, and style.

It is hard to rate Vikander’s acting abilities from this performance. Her sly automaton in “Ex Machina” had more emotional range.

The movie only looks like a coming-of-age freak show from the outside; in reality, it’s unexpected proof that flowers can grow even in a prison.

In other words, this movie isn’t just about an adolescent boy — it pretty much is an adolescent boy.

Full of energy and attitude, it’s the sort of movie that likes to startle, if not necessarily shock. No wonder Dope was an audience favorite at Sundance last winter.

It is a joy for audiences seeking entertainment, an ingenious work of craft for those paying close attention, and a wallop of feeling that’s still too rare coming from a cartoon.

All this desperation and squalor reeks of authenticity. Many of the actors are from the streets themselves, and such locations as a crash pad rented out by a dotty lady could never be dreamed up by a Hollywood screenwriter.

A bittersweet, wryly comic, keenly observed look at senescence.

It’s an easy film to watch and become engrossed in, and it’s just as easy to forget, despite a true-life twist that darkens the final minutes without making much of an impact on the whole. Expertly shot, excitingly edited, smartly acted, The Connection never quite connects.