Savannah gets by on touches of grace and spirited performances, especially by Caviezel. After being so serious for so very long, it’s great fun to see him take on a “genuine character” with all the boozing, brawling and shooting that entails.

An empty-headed nothing of a caper comedy.

Impressive. And violent. Just not a lot of fun.

Words and Pictures is the cloying title of a cloying little comedy made by talented people who, not that long ago, deserved better than this, and knew it.

The script here is pretty stale stuff, with an under-developed side story of the cop (Karen Mok) on Donako’s trail and dialogue (in English and Chinese) that is often banal.

Besson aims his movie at anyone who’s ever held a grudge at an ill-mannered French waiter or clerk (haughty, and by the way, they’d NEVER condescend to speak to you in English). If that includes you, The Family has serves up a little wish-fulfillment payback, with a baseball bat.

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

White House Down is a corker, real competition for “Fast & Furious 6″ as the dumbest fun you’ll have at the movies this summer.

Needed more movie to go with its message.

It’s an engaging yarn, set in a place, a time and among a people rarely represented on the big screen. But “Ultima” is a poetic novel that becomes prosaic on the screen.

Non-Stop is a solid, workmanlike action picture that builds slowly, bends over backwards to over-explain itself and its villain, and delivers a lulu of an ending.

It’s well-cast, but Tautou and Duris don’t set off the sparks and create the longing that would give this tragic romance some heft. Everybody else takes a back seat to the inspired visuals.

Seeing these veteran players go through their paces, find their comic rhythms and probe for laughs where many a laugh has been found before is not a bad thing.

The line between “cute” and “cutesy” is violated, repeatedly, in the sometimes funny, often cloying comedy The English Teacher.

The players utterly inhabit their banal characters, but Hartigan only delivers a couple of scenes that merit all this attention to detail.

Whatever their other gifts, they cannot find the fizz here and can never get Wiig to commit to the sort of film that she, even when she was making it, must have realized was beneath her in her post-”Bridesmaids” glory.

The singer and tabloid darling Chris Brown more than holds his own with this crew, apparently not even needing a dance double.

It’s a passably chilling bit of nonsense that builds on the past, the tropes of the genre, and relies on them for the odd jolt and the occasional ironic laugh.

Film buffs will see Goodbye World as a sort of “Trigger Effect” meets “Return of the Secaucus Seven” — growing up, learning to look at the world through more jaded adult eyes as the world ends.

Lee, in a sort of humorless send-up of Tarantino, substitutes kinky for mystery, explicit sex and violence for sex and violence with real shock value. When it comes to this remake, you plainly can’t teach an oldboy like Lee new tricks.

Fading Gigolo is John Turturro’s idea of an old school Woody Allen comedy, so he wrote Allen into it.

The performances are perfunctory and the scenario standard-issue even if the execution of this no-budget thriller is top drawer.

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.

It’s good to see Depardieu in an English-speaking role again, but he can only carry A Farewell to Fools so far by himself, especially when he never commits to “simple” heart and soul.

It barely has a fright in it on its own, this bloody, Mexican-made supernatural thriller set in the hill country near Tijuana. But open it with a hot “Blue is the Warmest Color” sex scene, toss in a few other hot and heavy moments and a generous helping of nudity and you can be sure, at least, of getting a Hollywood studio’s attention.

His comedy, whatever it was at an earlier age, is comfort food now.

Just stumbles on and on, introducing new theories and facts and then explaining, explaining explaining them, right up to the closing credits.

The tempered violence, the nature of the villains, the easy bonhomie of our leads and a cast peppered with great supporting players make Escape Plan go down easier than the other “Rambo/Last Man Standing/Expendables” pictures that brought these two aged action stars back from the dead.