Like many such films, the subject seems more fascinating than the Far Out Isn’t Far Enough’s treatment of him.

Beyond the Lights is another pain-behind-the-music romance. But it’s so well written, cast and played that we lose ourselves in the comfort food familiarity of it all.

Goldblum is always best at being Jeff Goldblum, and his oily/silky charm tends to unbalance the neat, brittle little tragedy we’re watching.

It’s a “Waiting for Godot” set in the solitary work and lives of two highway line-painters.

A regal, majestic and downright arty take on this teacher, champion and philosopher whose life spanned much of the twentieth century.

It’s the best Almodovar movie Almodovar never made, a riotous, gory farce that might be the funniest movie of the summer, and surely is the coolest.

A Royal Affair...is a lovely history lesson, but a film without the spark of invention that makes this modern parable feel modern.

Mark Jarrett’s amiable road picture has a morbid whimsy and a coming-of-age hook.

For all its pleasures, as Germaine nudges Claude toward that “ideal” ending that will make the reader say “I never saw that coming” and “It could not have ended any other way” at the same time, one only wishes this absorbing but melodramatic film had taken that advice.

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

Berninger is hero and villain of this comic essay in ineptitude masquerading as a rock band on tour doc.

As our old friend Ricardo Montalban said thirty years ago in “The Wrath of Khan,” still the best of the “Star Treks” — “It is veeery coooooold in space.” “Into Darkness,” for all its dense textures and epic scale, left me cold.

Moore makes us root for Alice, not for a cure, which still seems a reach, but for a completion of her life’s goals, a chance to control her fate as long as she has the wherewithal to do it.

It does a poor job of showing the tragedy of Turing’s hidden life but a better job at making a bigger case — unconventional people make unconventional thinkers.

“The Raid” was a great action film in which the violence, excessive though it was, served as obstacles in the hero’s simple quest. In Raid 2 the violence is the movie, its excess used to cover for an inept story, thinly-drawn characters and dead spots.

The film reminds us that as amusing as he could be, he wasn’t the dazzling wit history packaged him as. “Relevant” is how he wanted to be remembered. And before he died, he got a filmmaker to remind us of exactly that.

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

Cruise and Blunt have only as much chemistry as the script allows.

It’s a lovely film, a sentimental parable that carefully recreates a post-war Japan obsessed with obliterating its past.

This comedy produces the biggest, loudest laughs of any movie this summer.

Owen and Riseborough play their characters awfully close to the vest, not investing in anything that would allow this story to take the romantic or melodramatic turns we expect. But truthfully, that hamstrings the movie.

Run & Jump is an uncommonly offbeat and charmingly unconventional romance, an Irish comedy that lets itself get very serious, now and again, and is all the richer for it.

The fact that Bulger, at long last, is rotting in jail, is little consolation. Perhaps only a Hollywood version of this story, one starring Johnny Depp, can give it a satisfying conclusion.

We knew Livingston, Kendrick and Johnson (“Safety Not Guaranteed”) would work in this setting. But Wilde adds to the growing repertoire she showed off in “Deadfall” and “Butter,” films no one saw but which revealed that she’s a lot more than a pretty face.

This delightful and inspiring drama succeeds the way Hawking has, even as he fails to deliver that “one theory” that explains “everything.” It’s reaching beyond your grasp, in life, in science and in film biographies, that achieves greatness.

Artistically, Get on Up rivals “Walk the Line,” with a lead performance on a par with the career-making turns of Angela Bassett (“What’s Love Got to Do With It?”) and Jamie Foxx (“Ray”). With this wonder of the summer, Boseman and Taylor deliver a piece of American cultural history every bit as important as the Jackie Robinson story, a story told with heart, humor, funk and soul.

Prisoners is never less than engrossing. It’ll keep you guessing. It’s just too bad that the last thirty minutes make us feel like the prisoners, here.

The singing is nice, the peripheral characters interesting. But a love that others don’t approve of, that may get in the way of a big concert debut? That makes Gabrielle a bit too Lifetime Original Movie for its own good.