In Don Jon Gordon-Levitt hasn’t made a great movie. But he has made a fun one, short and sweet, with a third act punch that is so to-the-point it’ll take your breath away.

What’s fresh here is the tone – rude, blunt and bordering on shrill. This is a less in-your-face Michael Moore-style take on this subject.

It’s almost a hagiography, and Vidal would have demanded no less.

Kon-Tiki is a grand old school yarn with enough drama and dramatic incidents to make even Indiana Jones envious at the adventure of it all.

Look for Jackson’s cameo in the opening, which sets the tone. Call it another visual triumph for New Zealand’s vision of Middle Earth.

A scruffy, anarchic picture that gets better as it stumbles along.

A down-and-dirty genre picture that manages a couple of decent plot twists, a couple of passable car chases and two epic shoot-outs.

The Hollywood debut of Korean filmmaker Chan-Wook Park (“Oldboy”) is a vivid, short exercise in tone, a movie lacking shocks and huge surprises, but one that makes up for that by creeping us out, from start to finish.

Funnier than the last Muppets movie, with far better songs (by Bret McKenzie), punnier puns and all manner of geo-political gags, cultural wisecracks and star cameos.

It’s a beautifully shot and reasonably balanced film, but one that struggles to find a hopeful note to end on.

The Liberator may be a Cliff Notes version of South American history, but Ramirez breathes life into it and makes us care.

As “cute and cuddly” as ever, and often downright hilarious.

The performances and the ready supply of one-liners make this an amusing look at a new generation getting lost down memory lane.

It’s good, but we’ve come to expect more from the guy who gave us “Fight Club” and “The Social Network.” This is more on a par with “Girl with the Dragon Tattoo.” The calculated shocks feel like a movie we’ve seen before, though at least in this case, that’s not true.

It’s a fascinating period in music and an equally fascinating story of promise, talent, expectations and failure. But you can’t help but feel that Big Star: Nothing Can Hurt Me won’t settle the most important argument of all to the unconverted — Were they as good as the hype?

Here’s an eccentric tragicomedy, with music, built to play like gangbusters at Austin’s South by Southwest music-movie fanboy/fangirl festival.

The Kingdom of Dreams and Madness is a great name for a documentary about Hayao Miyazaki and his animation house, Japan’s Studio Ghibli.

It’s a smidge too cute and a bit too long, but Huard and Scott make this comical journey (in French and “Franglish” with English subtitles), a trip from indifference to kindness, incompetence to responsibility, a most rewarding reinvention of what “family” can mean.

Apparently at Holofcener’s urging, Dreyfus just tends to overwhelm the movie with her regular, if charming, bag of tricks, as if that’s enough. And it isn’t.

You’d have to go back to the ’80s to find a film with this jaded a view of Hollywood, a town where every aspiring actor knows every yoga instructor who knows every producer and they all swap partners and dance. Constantly.

Rambles a bit and telegraphs its ending. But its earnestness in reminding us of this story and just what America represents to the world’s rising tide of refugees, and why, makes it a winner, a valuable history lesson wrapped in a feel-good bow.

Like the characters in this inter-connected world, you may feel the need to let go of The Past, only to realize, after the credits, the hold it still has on you.

Looming large above this “Long Walk” is Elba, in a mostly still performance, one of quietly compelling authority that dominates every moment.

Fill the Void’s greatest virtue is in the ways her characters take us beyond stereotypes even as she herself questions the value system of a culture that is so focused on religion, marriage and procreation that it holds few attractions to those not born into it.

Blue Ruin joins “Shotgun Stories” and “Joe” as vivid reminders that however homogenized American culture seems, there are still pockets that are distinct, with people who live by their own rules and their own bloody code.

The Lego Movie amuses and never fails to leave the viewer –especially adults — a little dazzled at the demented audacity of it all.

Appreciate Elysium for what it is, sci-fi that’s smarter, more topical and more invigorating than most of what passes through that genre these days, and another sign that its director is the most promising chap to enter the field since the inception of Christopher Nolan.

So even though this isn’t the greatest of “Expectations” — David Lean’s black and white version in the ’40s will your heart — it’s still a pretty grand one.