For a film so aggressively intent on Big Shock Moments (cannibalism and lesbian necrophilia, anyone?), it’s more often stultifying and tedious than provocative.

This is an immensely entertaining millennial B-Movie, made for summertime viewing.

This is no history lesson, but it’s mainstream Hollywood entertainment that respects the history and seems to invite discussion and debate.

Even as I was rolling my eyes, I was digging just about every stylized visual flourish, every big performance, every overly dramatic confrontation featuring first-rate actors letting loose with unabashed gusto and veracity, even when they were bellowing lines stating the obvious.

All of it is such a throwback on so many levels (Charlie’s car, his clothes, his incessant use of pay phones) that you just go with it, no matter how many confusing twists and turns the conspiracy theory plot takes thanks to co-writers Stuhr and Ricker.

It’s a solid, entertaining, well-paced sequel featuring terrific voice work, a clever script and some ingenious action sequences. It just doesn’t quite reach the soaring heights of inspirational storytelling and elevated humor of the original.

Central Intelligence is one of those slick, gunplay-riddled, stupidly plotted, aggressively loud buddy movies — so formulaic and dumb, even if you see it you’ll probably forget you’ve seen it by the end of the year...And if that’s the case, consider yourself fortunate.

Russo has never been better than he is in this film. It is a quietly powerful, sometimes devastating and heartbreaking performance.

Sitting through the smug and convoluted and ridiculous Now You See Me 2 is like being subjected to a dunk tank again and again — and then being handed a wet towel when it’s finally over.

Guzman and Garcia (reunited from HBO’s “How to Make It in America”) are a joy to watch, and deliver their lines with just enough nuance to make them truly endearing.

Careful What You Wish For is aiming for lusty, lurid, B-movie titillation, but it’s not nearly as sexy nor nearly as clever as it would like to be.

Wan retains his touch for ratcheting up the tension, providing doses of comic relief and then BOOM!, delivering another gotcha moment that will leave audiences jumping in their seats and then giggling at the visceral thrill ride — but the scary moments aren’t as fresh this time around, and with a running time of 2 hours, 13 minutes, The Conjuring 2 is at least a half hour too long. At least.

This loud, bombastic, often incoherent mishmash of magical-themed storytelling simply was not worth whatever effort went into it. While there are some acceptable action sequences, it’s the screenplay — complicated by some less than inspired performances — that dooms “Warcraft” at every point along the way.

It’s funny because it gets it RIGHT without ever being too mean-spirited.

Me Before You is a beautifully filmed and well-intentioned weeper marred by an unfortunate performance from one of the leads, and a plot development that leaves us more angry and frustrated than moved in the final act.

This sequel is a good improvement over the 2014 adventure that rebooted the franchise. The effects are better, the pacing is tighter and the overall impact is much more entertaining.

The cameras simply follow Weiner’s every move, which includes disastrous public appearances, embarrassing press conferences, and media interviews that don’t exactly go Weiner’s way.

It’s a fine brew, equal parts cynical and whimsical, dark and sunny. It’s fairly slight but nearly great.

This isn’t A-level X-Men, but it’s a visual feast, it doesn’t take itself too seriously, it’s brimming with stellar performances, it has some legitimately moving teamwork segments — and it contains perhaps my favorite scene of any movie this year.

The sequel to Tim Burton’s 2010 mega-hit “Alice in Wonderland” is loud, frantic, stunningly unfunny, off-putting and riddled with mediocre, out-of-tune work from normally outstanding actors. It’s one of the great movie disasters of 2016.

For about an hour, The Lobster is pure absurdist greatness, brimming with pitch-black shock humor and big, wild ideas. The second half of the film isn’t nearly as imaginative and startling, but I walked out of the screening with the surefire knowledge I wouldn’t soon shake off its most inspired sequences.

Stillman has done a marvelous job of adapting Austen’s novella Lady Susan and capturing the author’s tart and rapier-sharp sense of humor.

This is a sunny, admiring documentary about the British (and Los Angeles) treasure David Hockney, who remains productive at 78, is candid and entertaining in interview segments and seems utterly content and grateful for the life he’s had and the artistry he’s been gifted with.

The Nice Guys has a little extra padding that isn’t necessary.... Ah, but Crowe and Gosling save the day.

I couldn’t wait for this movie to end.

Despite its provocative title, How to Plan an Orgy in a Small Town isn’t particularly sexy. More troubling, it’s not very funny either.

Wood and Cage have a terrific dynamic together.

Director Wheatley and screenwriter Amy Jump are clearly playing much of as pitch-black satire, but High-Rise keeps hammering home the same points, and not even the wealth of strong performances from Hiddleston, Miller and Irons are enough to salvage the day.