Twice Born fails to tug at the heartstrings or wring tears from us. Hirsch plays exuberant and callow well, Cruz is tragic and earthy as ever. But the two of them never really click — sex scenes included.

We’re taken back to a naive era, when the boundaries of “smut” were narrower, when even the images of an unlikely “adult” star (she never did sex films or “real” porn) seem now like good, clean fun.

An old fashioned romantic mystery that benefits from a wizened, much-honored cast and a still-exotic setting.

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.

Walker has few “big” scenes, no memorable dialogue and plays up the exhaustion, which tamps down the emotions of his performance. So even an action packed finale can’t rescue this dramatically thin exercise in one-man showmanship.

Though it rarely looks as malnourished as say, “Europa Report” or “Moon,” Last Days on Mars does show how starved of new ideas sci-fi cinema is.

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.

There’s wit and whimsy in this 53rd Disney cartoon, a distant cousin of Hans Christian Andersen’s classic fairytale, “The Snow Queen.”

The Jason Statham vehicle Homefront is such a generic tough-guy-against-the-odds ’80s style actioner that you’d swear Sly Stallone starred in it. He did, back in the day. Or versions of it. This one, Stallone just scripted.

The movie is so “interior,” it so zeroes in on Isaac and his baleful stare, that we’re relieved any time something overtly funny happens.

Modestly entertaining and uplifting version of a “greatest story” that has proven as malleable as it is timeless.

So it’s no “Starbuck,” which most people won’t mind because Americans don’t read subtitles. But even in this form, Delivery Man and the guy who plays him still deliver where it counts.

Most credit goes to Coogan for the success of this odd coupling.

Deep thoughts about re-directing cynically manipulated celebrity, lump in the throat moments at people rising up against their oppressors, a couple of memorable deaths and attempts at sacrifice play as flat when there’s nothing around them to serve as contrast.

An amusing, well-acted and sharply-timed holiday comedy, old friends getting together to prove that careers, families and kids aside, they’ve still got their R-rated edge, just as they did in college.

For all its sure-handed sense of place, its occasional grace notes of loss, grief and misery, This is Where We Live fails to seize and break our hearts, keeping its glum characters at arm’s length and doling out “hope” in tiny, cloying teaspoon-size servings.

Try as she might, Collyer cannot help but judge these people, a not-quite-fatal flaw in a movie about the down and out.

The bad guys really stand out, with Mikkelsen pulling off something he never managed as a Bond villain. He’s genuinely frightening.

And Dern, a great character actor who made his mark opposite everyone from Redford and John Wayne to Jane Fonda, embraces the roll of a lifetime.

Dallas Buyers Club is one of the best pictures of the year.

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.

The film stumbles into a cross-country odyssey that dominates its last third. That is fascinating, but not properly set up, much like the film itself. How I Live Now skips over the “How,” loses itself in the “I” and never lets the pathos of “Live Now” pay off.

The design is brighter and sharper, the jokes are broader and the villainy utterly generic in this by-the-(comic)-book adaptation.

Writer-director Ted Koland can be a little obvious. It’s not a deep movie. But everybody, especially Ramsey, is dealing with something. And Timlin (TV’s “Zero Hour”) gives heart to this wonderful, nuanced character.

Frozen, undercooked and sorely lacking much in the way of “all the trimmings,” this turkey isn’t ready to serve.

Last Vegas isn’t “out there” in a “Hangover” sense. It’s comical comfort food, with actors doing the sorts of things they’ve done for decades. But even if this is the safest Vegas romp of them all, this cast never lets us forget that we’re in very good hands.

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.

A most romantic way to spend your time at the movies this fall, a “date picture” about do over dates that works, this time around.