Hemingway wins us over and, in the end, comes off as earnest in her desire to use her celebrity to help shine a light on the maladies that have shattered her family, time and again.

Watts masters Diana’s look — the way she carried her head and used those wide, coyly expressive eyes — but is only passable at impersonating the voice.

Sure, it’s good-looking, cautionary and clever enough. But there’s not much in this “Game” that you’d call thrilling or fun.

Among the players, the wild-haired Bardem stands out, and a vampy Diaz sets the stage for uninhibited future in villain roles, or deadly-sexy car sales.

As Jackass japes go, though, Bad Grandpa was better in concept and in its short, punchy TV commercials than it is as a feature.

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.

A mildly entertaining sermon about American “Cowboy Capitalism” as it rubs up against “The French Way.”

This culture-clash/mother bonding story was never going to be “Frozen River,” but you do sense that a lot of potential was squandered in denying these mothers big moments of mourning, bigger confrontations with the fathers of their sons.

So yes, even if you know how this story goes, there are moments that work wickedly well in between the needlessly drawn out ones, by which I mean the entire, predictable third act.

The film captures the magic and manic energy of the performances, the inventive choreography and spine-tingling tunes.

Concussion deserves more of an audience than just the film festival circuit. And it’s not just an introduction to a writer-director with talent, but to a slew of under-employed and superb actresses, and the hunky Tchaikovsky.

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

The tempered violence, the nature of the villains, the easy bonhomie of our leads and a cast peppered with great supporting players make Escape Plan go down easier than the other “Rambo/Last Man Standing/Expendables” pictures that brought these two aged action stars back from the dead.

This solo ordeal won’t be to every taste, but All Is Lost is a grand vehicle for the actor and for that viewer ready to consider his or her own mortality, the problems, conflicts, strengths and shortcomings you’re sure you leave behind when you just sail away.

Needed more movie to go with its message.

The aloof, guarded Cumberbatch plays Assange as a mixture of brilliance, hucksterism, ego and naivete. He carries the baggage of an actor who plays “smart,” with a menacing edge.

McQueen and his stellar cast take us on a difficult journey, an odyssey that will make you want to avert your eyes. It is to their great credit that we don’t.

So as much as every generation deserves it’s own Romeo & Juliet, this latest one does nothing to make anyone older than Hailee Steinfeld forget the heat of Baz Lurhmann’s far sexier, noisier and passionate modern dress version of 1996, where Claire Danes and Leo DiCaprio completely convinced us that they knew how to “play Satan’s game.” And how.

Robert Rodriguez is like that friend who loves to tell jokes, but always goes on and on, well past the punch line. Remember how he beat the living daylights out of his “Spy Kids” franchise? That’s what he’s working toward with Machete.

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.

The performances and Greengrass’s way with action immerse us and make Captain Phillips a tight, taut,edge of your seat thriller even if you remember the ending.

Spinning Plates is a surprisingly affecting juggling act, with each story having its compelling third act revelations of the extreme obstacles each eatery and its owners have faced and will face.

A graphically violent, sexually explicit teen horror tale, it was close to being ahead of its time, in its time. Now, it plays like a quaint, fairly obvious period piece — from 2006.

Affleck? You never believe a word he says, not a gesture. This is the sort of acting he did in the sort of movies he made before he started writing and directing his own movies — bad.

Though it is funnier and out-charms “Tio Papi,” it lacks the whimsy, magical realism and kid-friendly sentiment of the sleeper hit, “Instructions Not Included.”

To fans who know the tunes by heart, hearing their history is never less than thrilling. And if you’ve heard that line about “Swampers” and never new who they were, you should. They have been known to pick a song or two.

Parkland is a fascinating insider’s view of those fateful two days in November of 1963, when a president was murdered, his assassin was gunned down in custody and generations of conspiracies were born.

Bullock and Clooney make their peril our peril in this absolutely gorgeous, moving and sometimes exultant reminder that the real terrors of space are scary enough, without invented bug-eyed monsters thrown in.