Strives hard to replicate the screwball comedy but ends up being a lot more screwball than comedy.

Talk about a mediocre mash-up. Much of We Are Your Friends plays like an Electronic Dance Music update of a very good John Travolta movie — “Saturday Night Fever” — with a liberal sprinkling of plot elements from a quite terrible Tom Cruise movie called “Cocktail.”

There’s no denying director/co-writer John Erick Dowdle’s skill set for creating almost unbearably tense and quite twisted suspense pieces in which you’ll find yourself laughing at the sheer unapologetic insanity of it all.

Equal parts film noir, relationship drama, dark comedy and mood piece, Digging for Fire is a movie made by someone who clearly loves the art of movies.

Gerwig is a magnetic actress, but it feels as if she’s overplaying it here. Even in Brooke’s best moments, she’s not all that charming or interesting.

The plot is just high-tech Swiss Cheese, filled with holes and smelling like last week’s refrigerator contents.

Watts achieves a kind of early Coen brothers, early Tarantino feel.

The film is not perfect; its message at times gets lost in its “pearls of wisdom” approach. But overall, there is a soothing quality to it, with Gibran’s words resonating on some level to those who are willing to listen.

This is one of the better musical biopics of the last 20 years.

The Man from U.N.C.L.E. plays a like a lower key, vintage edition of a “Mission: Impossible” movie. It’s a good movie with a great look.

This is a tense, nerve-wracking thriller of the mind, with first-rate performances by Bateman, Hall and Edgerton — a tightly spun thriller with a wicked sense of humor and a wonderfully warped take on long-range karma.

It’s often fascinating stuff, but the whole thing comes across as a film new employees would watch on their first day of work, right after filling out all the packets of forms in Human Resources.

Dark Places does its best to stir a multitude of emotions within us, but in doing so, the film feels contrived and hurried.

Though this is the cinematic equivalent of an album of cover tunes by artists who have created much more dazzling original work, it’s a sweet, smart and funny confection.

A lightweight and basically unnecessary attempt to once again bring some cinematic life to one of the lesser teams in the Marvel Universe.

It’s a brilliant slice of life.

The Stanford Prison Experiment is the kind of movie that raises as many questions as it answers. It’s also the kind of film where you want to budget some time for discussion afterward. You won’t be able to shake this one off easily.

At times the deception and the intrigue and the twists and turns make it nearly impossible follow every detail of the plot, but even when things get muddled, we know Ethan’s our hero.

I’m all for bawdy, politically incorrect, wildly inappropriate humor — when there are consistent and genuine laughs to be mined from the material. This stuff just sits there like a steaming pile of stuff you walk around.

Smulders gives one of the most natural performances of her career, and Bean’s subtle, strong work announces her as a young actress to watch.

The nice thing about Paper Towns is it’s as much about the friendship between Quentin, Radar and Ben as it is about Quentin’s love for Margo, and his quest to find her after she disappears yet again.

While Southpaw will surprise almost no one who has seen a fair amount of boxing movies, Fuqua’s direction and the excellent performances keep the action humming.

Pixels has a few inspired action sequences and a handful of laugh-out-loud moments, but overall the special effects are surprisingly average — and the lazy acting by Adam Sandler, the shameless mugging by Kevin James and the hammy performance by Brian Cox don’t help. Not even Peter Dinklage in a mullet can save the day.

[A] dark and wickedly funny and sometimes flat-out wiggy little number.

Highly entertaining high camp.

Davis (who was an executive producer on the film) gives a strong performance, as if she were acting in one of those many prestige projects lighting up her resume. It’s a noble try, but this dreck is beyond saving.

McKellen is brilliant throughout, his piercing blue eyes revealing the gallantry of youth and the sadness of a life’s worth of memories slipping further away. His understated and charming approach to the role makes it all the more potent and engaging.

Trainwreck is my favorite romantic comedy of the year, and despite (or maybe because of) all its sharp edges and cynical set pieces, it’s a movie you want to wrap your arms around, or at least give a high five.