Dull, carnal, and explicitly so in both regards, it’s a slow-moving slog through one crushed soul as she relates the empty, passionless pursuits of her youth.

Writer-director Jaco Van Dormael (“Toto the Hero”) spins flashbacks and time-lapse photography, stunning montages, whirling, circling cameras and stunning underwater, deep space and Martian landscape photography into a film that is as intentionally opaque as it is overlong.

As colorful as it and its people are, Cooper lets the brawling and the bigger-than-big performances get the better of him, and his story. Out of the Furnace feels undercooked, as a result.

A nasty, elemental thriller, basically a four-character play with blood and guts and sex and drugs and dares

An engaging take on a drifting character at an age when we’re all adrift.

Pitt and Arianda utterly inhabit these dolts and their delusional dreams. They’re careless and clumsy, never thinking things through, never seriously considering the inevitable consequences of what happens when you poke the bull.

Spring Break – it’s every bit as much fun as you think it is. Until it isn’t.

The first 25 minutes or so of this “Contagion” meets “28 Days Later” thriller will leave you breathless. And the rest of it serves up novel and often entertaining solutions to the various “zombie problems” that this over-exposed genre presents.

Moretz is as real as ever, and Knightley manages Megan’s transition from annoyingly naive to adorably confused. But for that she has help, and for that she and we should thank Rockwell. In this case, the actor most accomplished at playing slackers is the one who gets everybody — and the movie — to grow up.

The broad, goofy jokes and one-liners land — even if they feel a little winded, this time.

Earnest, righteous, historically accurate and often entertaining.

In a tale this timeworn and a film this devoid of humor, with only a few moments of humanity, with tension frittered away by the tedious repetition of the fights, anybody who has ever seen Godzilla in any incarnation can be forgiven for asking the obvious. “What else have you got?”

The Discoverers showcases Dunne in a part he was born to play.

There is absolutely nothing new in this variation on the time-honored creature-feature tropes. But the fun just builds and builds as our heroes and our Irish island come to a solution that seems — on the surface — awfully Irish in its logic.

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.

Writer-director Lucia Puenzo, adapting her own historical novel, concocts a disquieting and chilling thriller out of what might be a lost chapter in the infamous career of Nazi Doctor Joseph Mengele.

Writer-director John Carney re-plays his greatest hit with Begin Again, a semi-successful attempt to recreate the magic of the Oscar-winning musical “Once” in New York with a big name cast.

For all its fun flourishes and tepid over familiarity, fans are going to dig this. It is, after all, the movie they paid for. They’re the folks who “like this sort of thing.” The rest of us can be forgiven for waiting for it to show up on Netflix — on TV.

The funniest kids’ cartoon of the summer.

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.

What keeps us around until the closing credits, where Hart and Hall bust each other up, is the electrical charge between those two. They’re the Wimbledon Finals of sexy, sassy, drunken comic banter — two pros, evenly matched enough to put on a great show, even if they make us forget about the rest of the movie around them as they do.

Besson’s script may let her (and Freeman) down in the third act, but the 89 minute long Lucy is so brisk it’ll give you whiplash. Even marginal thrillers benefit from a director and star who have a sense of urgency and are as hellbent as this on not overstaying their welcome.

A nail-biting thriller in the classic Hitchcock style.

A rough and rough around the edges tale of children growing up on the mean streets of the wrong side of Brooklyn. It’s a coming of age story of a self-absorbed, downtrodden punk with a dream who learns about the love that comes with responsibility.

Start to finish, it’s a delight.

Jake Gyllenhaal does tour de force double duty in the intimate thriller Enemy, a cryptic essay on identity. He is terrific in both guises, but he is trapped in a frustrating puzzle without a solution.

The buffoonery goes epic in this sillier than silly sequel, a broad, down and dirty comedy overfilled with funny people trying to one-up one another on the set in the classic “best line wins” school of comic improvisation.

Oculus earns its frights the old fashioned way — with convincingly traumatized characters, with smoke and with mirrors.