The Broken Hearts Gallery will fit snugly on the shelf for tweens and teens as a source of comfort and maybe even empowerment, an ode to rebuilding, when the dissolution of a relationship leaves you feeling like a husk of yourself.

Much of the material gets rehashed with slight variations...and many of the space battles have a redundant quality.

If Animal Crackers never quite matches the mania of “Meet the Robinsons,” nor the comic wit of “Cloudy with a Chance of Meetballs,” it still moves so fast that less generic animation might have seemed like a waste.

Radical can’t escape a formulaic construction with scenes that pack a predictably saccharine punch (see: kids rushing to hug their beloved teacher once he has proven himself an ally). And yet, as unsubtle as the story beats tend to march on, the backdrop of poverty and hopelessness make the light that Derbez’s character brings into the classroom, and in turn into the youths’ lives, earned.

Perpetrator suffers from a novice lead performance and a script that tries to do too much. It’s an ambitious addition to the feminist horror genre with blood and guts to spare, but it’s no game-changer.

More than anything, Blink succeeds as a film about the lengths that parents will go to give their children every possible ounce of joy in an indifferent world that too often has cruel other plans for them.

When it keeps its aims small and its attention narrow, The Other Half lands on a simple love story that speaks outside its familiar boundaries.

Admittedly lovely and heartfelt, Norwegian Wood is also hollow.

Too in love with itself to ever totally go off the rails, Pacific Rim doesn't qualify as the first full-on dud of del Toro's career, but it's hard not to get the sense that something's missing.

Freaky has enough snappy fun to keep it ticking along to the inevitable “shock” ending, forcing together two delightful powerhouses in a battle royale that seems primed to kickstart another new franchise for Landon.

The Spanish auteur has a good time with outrageous plot twists and offbeat sexual intrigue. However, Almodóvar appears unmotivated to even try holding it all together. Instead, he lets the mess pile up and enjoys it.

Although Thank You for Coming is overstuffed with too much plot and too many characters, director Boolani brings Kanika’s world to life with sumptuous visuals, kinetic editing, a jaunty soundtrack, and punchy rat-a-tat dialogue.

Just the Two of Us is a rare thriller whose setup is more compelling than its climax.

That McNamara has written a truly new spin on Adler’s novel is genuinely refreshing, but the lighter tone and greater reliance on actual romance between its leads makes what’s to come all the harder to swallow.

Unlike the polished universe of Pixar's "Brave" or countless other recent CGI efforts, ParaNorman maintains a delicate, handcrafted look that underscores its ideas.

Gerwig singlehanded carries this blithe, generally forgettable story.

The 70-year-old Choy isn’t the subject of their film so much as she’s the lens through which it looks back at yesterday and the fire that kindles its hope for a brighter tomorrow, but her inextinguishable spirit can be felt burning away behind every scene.

Our Hero, Balthazar isn’t cold by any means, but the result comes off as more ethnographic in tone than the in-your-face bravado of the approach would suggest.

Assisted by his playful cast, Arteta brings so much clear-eyed, character-driven comic mayhem to every scene that even the wildest script contrivances and most egregious McDonald’s product placements (one scene might as well be sponsored by the McGriddle) are graced with an actual sense of fun.

Fogel’s only other filmmaking credit, the romcom “Jewtopia,” doesn’t suggest the makings of a sophisticated nonfiction storyteller, and Icarus suffers from an imitative quality that’s hard to shake. Fortunately, Rodchenkov’s dilemma single-handedly keeps Icarus engaging throughout.

This is a curious, slightly underwhelming offering. Even so, falling flat as a result of being understated to a fault is a promising event in a genre dominated by obvious signposting, and Wright is certainly one to watch for the future.

None of this movie feels amateurish or unmotivated, but virtually everything on the periphery of its main plot manages to detract from what’s going on between Matthias and Maxime.

It’s unlikely to be remembered as anything more than an excuse for Steve Zahn to make a movie with his daughter, which should end up being a strangely fitting legacy for a film about how precious and fleeting moments can be.

Beyond Walken and Jones’ considerable contributions, A View to a Kill also contains a robust assortment of action sequences.

No matter its flaws, Tukel’s witty inversion of the buddy movie formula — set in an embellished world riddled by wartime dysfunction — has some legitimate ideas about the way feuds can last so long that neither side remembers what they’re fighting over.

Too often watching Sing Sing, you can feel the film’s manufactured drama push up against its embedded realism. The film’s immersive elements, and its valiant efforts to eschew prison film stereotypes, are commonly at war with a narrative at best designed to be instructive rather than compel on its own merits.

It’s a crime drama chewed up by a cheeky sense of humor — or, maybe it’s a quirky comedy set against the miserable campgrounds that lie on the fringes of the criminal underworld.

While some of the film’s more under-baked narrative elements might distract at times, Park and her cast still use them to build to an authentic, well-earned final act, one that should resonate with asses young and old.