Your enjoyment of Horrible Bosses 2 is almost wholly dependent on your tolerance for clusters of funny actors, babbling, riffing — and in the case of Charlie Day, screeching — all at once.

It’s not a bad film, this first-half of the concluding chapter of “The Hunger Games.” But it is, from first scene to last, just a tedious good-looking set-up for what one might hope would be a more lively, and perhaps better lit and ventilated finale.

Hollywood will be hard pressed to top this lean Canadian indie picture that knows it’s just another dumb werewolf movie, but has fun with that knowledge.

Bloody, brutal and melodramatic.

Convincing shaky cam or not, in the end all we’re left with is what we started with, just another bigfoot movie.

Charles Dance is the Nosferatu-garbed monster in the cave, a balding, toothy villain in the great tradition of British vampires — Christopher Lee, Gary Oldman, Michael Sheen and Kate Beckinsale among them. The moment he shows up, all shadowy menace and prophecy, “Dracula” gets interesting.

A slick, upbeat Church of Latter Day Saints-backed documentary that aims to answer the image of the church and its members “shaped by the media and popular culture.”

You’re Not You fails to bring us the fear or the tears that this story warrants. It sticks in the mind no longer than it takes you to change shirts after that ice bucket dunking.

Yet another “Blade Runner” knock-off, a sci-fi dystopia about robots getting too smart for humanity’s own good on an already sun-cooked Earth.

Catch Hell has physical torture and sexually explicit mind games. It has a star who seems resigned to his fate and willing to give up and savage bumpkins straight out of “Deliverance” ready to take out their hatred of Hollywood and Hollywood values on him. That description gives this simple, ferociously feral thriller more depth than it deserves.

Here’s the sort of scruffy action comedy that suits the post-box office-draw careers of one-time hipster John Cusack and fading action star Thomas Jane. It covers the costs of a fun few weeks of working vacation in Australia and provides a few on-screen laughs along the way.

There’s nothing surprising about this late ’60s tale, including its connection to the modern ghost stories told in “The Amityville Horror” and “The Conjuring.” But what it lacks in originality it makes up with in hair-raising execution. You will scream like a teenage girl.

There are a TV season’s worth of soap opera betrayals, melodramatic traumas and blundering efforts to learn from and escape this media miasma.

Hector might have been better off staying at home and reading a book, which also pretty much applies to the audience, in this case.

Danish director Henrik Ruben Genz (“Terribly Happy”) can’t hide his cards and rarely even tries to. He’s stuck with a script that has “Promise you won’t kill us,” maybe the silliest line ever uttered to a murderer, but that features some dandy threats, some by the villain who doesn’t drive the Jaguar.

It’s a sentimental, sometimes moving affair... It is also at times a reminder of how hard it is to manage a decent Civil War movie on a limited budget, and how hard it is, even today, to tell a Civil War tale untainted by revisionism.

There’s no humor and no pathos. The Cuckoo-Clock Heart, pretty as it is, lacks any heart at all.

The sylvan setting and short bursts of dramatic interplay are more interesting than coherent in this brief, undeveloped adaptation.

If it’s not convincing as either a find-one’s-faith parable or clever spoof of pop Christianity, at least it’s relevant.

Scribbler is just daring and interesting enough that you can see why a fairly accomplished cast — from Cassidy to Dushku, Gershon to Campbell — was drawn to it, even if the execution underwhelms.

Smith peoples the film with the same cast, including Kris Kristofferson as Hazel’s grandpa and Tom Nowicki as the aquarium’s benefactor. There just isn’t enough for them all to do. Freeman gets the few funny lines, which are all the same.

“Eleven” turns out to be an overreach, with too many voices to be anything but superficial, too few (she skipped sub-Saharan Africa and Latin America) to be thorough.

A historically interesting story is painted in broad, colorless strokes, alternating as it does between soap opera and slapstick.

When the Game Stands Tall is a solid if unsurprising and uninspiring melodrama.

"A Dame to Kill For” isn’t the shock to the system “Sin City” was. But whatever its plot repetition and warmed-over tough talk cost it, this is still a movie like few others you’ve ever seen, a 3D slice of Nihilistic noir that will have you narrating your own guts and guns story on the drive home, chewing on a toothpick as you do.

Antonio Banderas pretty much steals The Expendables 3. But at this stage in that winded franchise, that amounts to petty theft.

This dark comedy has a lot of promise for about half its length. Then, unfortunately, it settles into the mundane genre picture that it seems doomed to be.

As impressive as the effects can be, as effective as the blend of TV news helicopter POV shots, security camera footage, cell-phone video and storm chaser images mimicked here turn out, the human stories are given short shrift in this “spend our budget on effects” action picture.