This movie hangs utterly on performance, and DiCaprio’s Gatsby is mesmerizing.

This is a movie that floats by on dazzlingly silly banter and well-slung slang.

So many “lose my virginity over the summer” comedies, from “American Pie” to “Superbad,” “Can’t Hardly Wait” to “Girl Next Door.” But aside from the hilarious “Twilight Saga,” how many have told that torrid tale from the girl’s point of view? The To Do List is a summer romantic comedy dedicated to rectifying that imbalance in a single stroke.

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.

Chilling, cruel and funny — in an icy, Swedish way.

Fiennes holds it all together by force of what he does show us about the man, his kindness tempered with cruelty, the charity he practiced and preached, the morality he could never live up to. It’s the visible great man who makes The Invisible Woman worth watching.

Things drag, here and there. But kids will dig the slapstick, the talking dog and giggle at what flies out of the Sphinx’s butt, or drops from the rear-end of the Trojan Horse. Adults will be tickled at the usual Dreamworks parade of one-liners, running gags and puns, and feel a little sentimental.

As slight as Venus feels, it’s just titillating enough to matter, just twisted enough — Really, casting your wife and a guy who looks like you? — to suggest that even in his 70s, even with virtually no budget, Polanski can deliver a compelling walk on the kinky side.

It’s good, not great, and it’s not Ayer’s fault that the rarer these B-movies become, the more we expect from them.

It’s gorgeous, intimate and beautifully photographed. And it’s cute and kid-friendly, with just enough jokes to balance the drama that comes from any film that flirts with how dangerous and unforgiving The Wild actually is.

Laugh-out-loud funny and production-designed to death, Guardians of the Galaxy pops off the screen.

A winking comedy with dark underpinnings and some of Shakespeare’s most wicked wordplay.

Like "42," Cesar Chavez lacks the budget to feel truly epic in scope. The violence is scattered, shocking and personal, the struggles within the union muted but the outrage — is palpable.

It’s manipulative and overlong, too loud and “Incredibles” action-packed for the very young. But the manipulation errs on the side of mercy, compassion, sacrifice and humanity.

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.

Here’s a fascinating piece of history that escaped much of the world’s notice, when it happened back in 1988.

It's a celebration of great old actors set in a world of once-great singers, and Hoffman's affection for them and the material shows in every frame.

Exarchopoulos is a revelation, wearing her neediness, vulnerability and arousal with every muscle in her face, her posture, even her hair. It’s an utterly naked performance, literally and figuratively.

Whatever twists this puzzle tosses at us, the film reminds us that a great actor, in close-up, telling a story with just her or his eyes, is still the greatest special effect the movies have to offer. This cast telling this story ensures us that nobody will be dozing off Before I Go to Sleep.

Horror is all about that short-circuit the screen's technical manipulations cause in our brain, so this isn't high art. But Mama is easily the most moving, most chilling ghost story since "Insidious," an emotional tale efficiently and affectingly told.

It’s too much a movie of “types,” and loses track of story elements that would seem important enough to warrant further exploration. The whole Christian conservative law-and-order mantle feels like a fuzzy afterthought on Jane, forgotten far too soon.

There’s something so delicious when Brits such as Thompson and Irons sink their fangs – sorry – into Deep South dialect. Thompson devours scenery, supporting players and dialogue with every “Bless your heart, shooo-gah” in the script, and Irons curls his non-existent mustache with every syrupy zinger.

The documentary Room 237 is an ostensibly thoughtful deep reading, a deconstruction of Stanley Kubrick’s film of Stephen King’s 1980 novel “The Shining.” What it really is, is a bunch of obsessives obsessing about an obsessive movie maker’s obsessive movie.

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.

It’s the directing debut of Angus MacLachlan, who wrote “Junebug” and thus gave Amy Adams the perfect introduction to the world. “Goodbye” displays the same canny ear for human interactions, both comical and confessional.

Steven Soderbergh, rightly considered one of Hollywood’s smartest movie makers, is at his cleverest in Side Effects, a canny, cunning big idea thriller in a minor key, an engrossing zeitgeist whodunit about Wall Street, Big Pharma, prescription drugs and the power we give psychiatry and psychologists.

Gloria has a palpable loneliness about it, and Garcia makes us feel that and fear the emptiness that is staring Gloria in the face. Not a lot happens in this closely-observed character study, but few recent movies have dared to show this stage of life, the creeping solitude that memories of your disco past cannot fend off.

Earnest, righteous, historically accurate and often entertaining.