Even when The Family Fang stretches credulity, we stay with it. Bateman knows how to tell a story.

As Sokurov examines a pivotal point in the Louvre’s history and gives us a virtual tour of the magnificent museum, he makes larger points about the vital importance of art throughout human history. This is one of the most beautiful films of the year.

This is not so much a film about understanding the numbers, but understanding the men who made us see their merit, and the passion that drives each of us to find the true meaning in our lives. And that is a worthy lesson indeed.

Captain America: Civil War is a classic example of what the big-ticket summer movie experience is all about.

Writer-director Lorene Scafaria takes a sitcom of a premise and imbues it with depth, intelligence and numerous sweet, melancholy moments that feel just … right.

A film that is beautiful to look at but lacks clear vision.

Nothing could have prepared us for the offensively stupid, shamelessly manipulative, ridiculously predictable and hopelessly dated crapfest that is Mother’s Day.

The cinematography, the set design, the all-important soundtrack, the editing: all first-rate. This is one smart chiller.

For the bulk of the ride, it’s a wickedly funny interpretation of the one of the great confounding moments in American pop culture and political history.

The mishmash of filmmaking makes it clear this was a movie made by committee — and clearly that committee was composed of folks who were not all on the same page when it came to spinning what could have been a much more engaging piece of fantasy storytelling.

Nina never decides what it wants to say or where it wants to take us.

Writer-director Tom Tykwer is clearly a fan of the source material, and he has done an admirable job of taking a melancholy, beautifully rendered piece of prose and catapulting it to visual life.

[Harris and Franco] bring out the finest in each other as they punch and counter-punch vastly different memories of horrific incidents from the past. It’s great stuff. Unfortunately, much of the rest of the The Adderall Diaries is overwrought, convoluted and irritating.

Given the lurid, stupid, loony and unintentionally laughable nature of this espionage thriller, I found some measure of entertainment studying the vastly different approaches taken by Costner, Jones and Oldman — three of our finest actors over the last 30 years.

It’s impressive how well director Malcolm D. Lee (working from a script by Kenya Barris and Tracy Oliver) balances the serious material with the bawdy, freewheeling comedy pieces.

Thanks to director Jon Favreau’s visionary guidance and some of the most impressive blends of live-action and CGI we’ve yet seen, The Jungle Book is a beautifully rendered, visually arresting take on Rudyard Kipling’s oft-filmed tales.

I wouldn’t be surprised to hear Michelle Darnell was a hilarious onstage comedic creation. On film, she is a flimsy, one-dimensional, tiresome character, surrounded by equally unconvincing and unfunny players.

Cheadle the director, producer and co-writer boldly goes for broke with mixed results in this highly fictionalized version of the Miles Davis legend — and Cheadle the actor gives a brilliant performance worthy of an Oscar nomination.

What a mess. What a pretentious, uneven, off-putting, not-nearly-as-clever-as-it-thinkd-it-is MESS.

Even the world-class cast can’t save this one from teetering into the abyss.

The chemistry between Rockwell and Kendrick drives the movie. They’re fast and wonderful together. But Mr. Right has an abundance of strong supporting performances as well.

Even when I Saw the Light is giving us standard-issue concert scenes or simple interior sequences such as young Hank and his band playing live on the radio, the saturated colors and the subtle camera moves make every scene pop.

Linklater introduces us to an abundance of characters, but it’s a tribute to his writing (and the performances) that each of the baseball players has a distinct personality and story thread.

It’s refreshing to find yourself immersed in a film that zigs and zags between genres — and occasionally zaps your senses with an electric charge of shock and awe.

While the actors do a yeoman’s job in presenting their characters with aplomb (especially Jesse Metcalfe, as Wesley’s lawyer), the entire film simply comes off as a two-hour, jazzed-up movie version of a sermon.

Hawke is engaging as Baker.

Indeed Get a Job is an uneven, strange little movie with a hit-and-miss screenplay, some distractingly weird camera angles and a few subplots that never should have seen the light of day (or the dark of theater), but it also has an infectious charm, some genuinely funny set pieces and winning performances throughout.

A sequel that’s never subtle, rarely surprising — and as rich, syrupy, sweet and satisfying as a tray of homemade baklava.