This film is a total dud and an insult to the intelligence of anyone who would see it — especially the seniors who clearly are the movie’s target audience. “Just Getting Started” simply never does get started. It’s D.O.A.

Writer-director Paul Solet serves up some intricately choreographed and creative action sequences and some gruesomely realistic violence.... Mostly, though, Bullet Head is about the characters and the crackling dialogue, and the first-rate actors giving just the right spin to their lines.

On its own “merits,” it would still be a dud. A sluggish, uninspired, period-piece retread of so many earlier and much better Allen films, filled with overly familiar characters and situations and of course a soundtrack seemingly selected from Woody’s personal record collection.

The Darkest Hour is filled with authentic touches, large and small. Most authentic of all is Oldman’s performance.

It’s certainly one of the most romantic and one of the most breathtakingly beautiful movies of the year.

Director Silver delivers a visually arresting melodrama with some stunning dramatic turns, and Lindsay Burdge is nothing sort of sensational as the sad and lost and potentially dangerous Gina.

This is a chronicle of two men — writer and subject — obsessed with the theme of spying on unsuspecting, innocent people who have no idea their private lives are on display.

The Disaster Artist is a breezy, entertaining and even affectionate movie about the making of “The Room.”

The astonishing thing about Gilbert is the behind-the-curtain record it provides of the real Gilbert Gottfried.

It’s filled with so many theatrical flourishes and fantastical touches, one can envision this material as a work for the stage, or even an animated film.

Roman J. Israel, Esq. has pockets of intrigue, and writer-director Gilroy and Washington have teamed up to create a promising dramatic character. We just never get full delivery on that promise.

Coco is full of life, especially when we’re hanging out the with the dead.

What elevates Stephen Chbosky’s adaptation of the bestselling novel of the same name by R.J. Palacio is the myriad ways in which Wonder catches us just a little off-guard and puts lumps in our throats even when Auggie is off-screen, and we’re learning about supporting characters who rarely get their own sections in movies such as this.

In this world, it seems as if every moment of happiness, every glimpse of a better future, is fraught with dangerous consequences.... But redemption and hope eventually shine through here and there, and when that happens, it’s a beautiful thing.

Following the path of “Three Billboards” is a little like driving down an unfamiliar road in beautiful but forbidding country late at night, and alternately marveling at the scenery and gripping the steering wheel tightly when yet another steep drop or sudden change of direction presents itself.

It’s a putting-the-band-together origins movie, executed with great fun and energy.

Suffice to say Tragedy Girls has great fun with myriad horror movie tropes.

Much of the “humor” in Daddy’s Home 2 is of questionable taste at best.

The end result is a brilliant and brave and beautifully honest film.

Joe Lynch’s fantastically creative, subversive and Tarantino-esque Mayhem stands alone as an entertainingly bloody and dark and twisted social satire — but it’s even more satisfying for those of us who loved Steven Yeun’s Glenn on The Walking Dead.

This is one of the best movies of 2017.

Kudos to director Kelly Richmond Pope for applying just the right mix of “What the Heck?” whimsy and respectful, serious reporting to this incredible tale.

It is smart without being smug, insightful without being condescending, funny without being mean-spirited and genuinely moving. It’s unique and original and fresh and wonderful, and can you tell I loved it?

Branagh is a world-class actor and a fine director, and he scores stylistic points on both counts here, but this “Orient Express” loses steam just when it should be gaining speed and racing to its putatively shocking conclusion, which isn’t all that surprising — even if you haven’t read the book or seen the 1974 movie

It’s a well-calibrated performance, with Harrelson convincingly conveying how Lyndon Johnson felt the weight of the world on his shoulders and took on that challenge in mostly admirable ways.

One of the many surprising delights in the bright and brassy and wonderfully funny Thor: Ragnarok is the recasting of the God of Thunder as a perpetual underdog.

It’s sloppy to the point of distraction — not that the forced hijinks and ridiculous storylines are actually worthy of our attention.

The Killing of a Sacred Deer never hedges its bets, never takes its foot off the gas. The same can be said of the actors, from skilled veterans Farrell and Kidman to young Barry Keoghan.