It’s meant to be a soufflé-light charmer, but the bland, predictable French comedy Le Chef basically falls flat.

In the introspective The Last Sentence Swedish director Jan Troell invokes ’50’s and ’60’s Swedish cinema: masterly black-and-white cinematography, philosophical angst, a lifeless marriage and loved ones visiting from the afterlife.

Planes: Fire & Rescue is a good improvement over “Planes,” which Disney released last year. The story is stronger, there are some wonderful additions to the voice talent and the 3D cinematography is well-utilized.

In The Purge: Anarchy, unfortunately, grim and brutal is pretty much all we get.

Once in a great while I see a movie I know I’ll be listing as one of my all-time favorites for the rest of my days. So it is with this remarkable, unforgettable, elegant epic that is about one family — and millions of families. It’s a pinpoint-specific and yet universal story.

Sex Tape feels like the halves of two different movies. There is a fun, believable comedy about family life... that is upended by the overly broad, barely funny attempts at reclaiming the sex tape.

Director/co-writer/actor Zach Braff’s Wish I Was Here is a precious and condescending exercise in self-indulgent pandering, featuring one of the whiniest lead characters in recent memory.

The Perfect Wave is aimed at a certain audience that will appreciate its message and let slide its deficiencies.

A disquieting film about testing faith.

This is an “Apes” for the ages.

Bong, above all, is a world-class visual stylist, and he proves that again here with a few dazzling flourishes, despite Snowpiercer’s dismal gray palette and train-bound claustrophobia.

Hoogendijk is a guest with more tact than curiosity about why a three-year plan went so over schedule.

When the songs work well, as a few of them do, much can be forgiven.

The saving grace for this film is the group of young actors.

Director Scott Derrickson and his co-writer, Paul Harris Boardman, deliver a routine procedural with unremarkable frights.

When you’re balancing ridiculous slapstick right out of a live-action cartoon with well-written, well-acted scenes that feel completely of this world, that’s a tough balancing act, and “Tammy” isn’t quite up to the task on a consistent basis.

[An] unabashedly derivative but nonetheless entertaining, pitch-black Norwegian crime comedy.

Instead of venturing outside Outpost Restrepo, we hear what the soldiers feel about their 15-month deployment.

Wonderful as it is to watch great actors delve deeply into their roles, it’s a shame that the material they are delivering is just so damn confusing.

This is a film that left me marveling at Swartz’s beautiful mind, and shaking my head at the insanity of the system he knew was badly fractured.

Thanks to a smart screenplay, direction that perfectly captures the tone of modern rom-coms and two of the most engaging comedic leads working in movies and TV today, “They Came Together” is more entertaining and (in its own insane way) more endearing than two-thirds of the legitimate romantic comedies I’ve seen over the last two decades.

Age of Extinction is just another warmed-over, cynical, ATM machine of a movie. It’s soulless eye candy.

The Rover does have a central nervous system that crackles and pops with suspense, but in the end it’s not enough to jump-start the lack of narrative. Too much story is missing, and that is simply distracting.

The film is well acted all around and the excellent art direction brings the ’60s to colorful life. But Bandele struggles to balance an epic story of civil war and death against the equally epic story of sisters whose lives are forever changed by circumstances they can’t control.

For one of the few times in Eastwood’s career as a director, he seems indecisive about what kind of movie he wanted to make.

The problem — and it’s an insurmountable, deadly, comedy-killing, consistent problem throughout — is a tired, uninspired, derivative screenplay that brings everyone to Vegas for a wedding and incorporates nearly every weekend-in-Vegas cliche explored in dozens of previous films.

While it’s hard to make sense of the narrative developments in The Signal, it must be said that it’s always visually compelling. And that some of the standout sequences (including, yes, the Mind-Blowing Twist Ending) suggest that Eubank could have a terrific future as a director. As a screenwriter, though, maybe not so much.

Supermensch sells the impression that its subject is a genuinely good guy.