Starts promisingly, but Jonas Pate directs his fine cast straight into a swamp of schmaltz as every loose thread of plot gets patly resolved.

Director Suri Krishnamma capably depicts the darkness in Jim’s head with his shadowy surroundings, misanthropic inner monologue and increasingly frequent hallucinations, and Griffith’s vulnerable performance is a standout. But the film’s final third seems needlessly graphic.

Though Cho occasionally connects with her targets, more often than not she seems as intolerant and hate-filled as she accuses them of being - and that's not funny.

Pretentious, stagy and over-the-top update of Chekov's "The Three Sisters."

Domino, though, is the dregs: This thriller may be randomly set one year in the future, yet it’s hopelessly regressive — a parade of lame stereotypes that feels directed by an out-of-touch Old Hollywood old guy (De Palma is 78).

The film alternates between shoving its confusing plot forward and dropping dialogue bombs that fizzle.

At the start of Insidious 2, a young woman opens her mouth to speak and someone else’s voice comes out of her. Demonic possession? Nope, just some inexplicable dubbing to kick off this clunker of a horror sequel.

This unambitious Michael Bay-produced version doesn’t seem interested in cleverness, cravenly settling for the usual generic CGI shtick.

It really all comes down to the Bellas. With brilliant actresses like Wilson, who has a badass fight scene this time, and Kendrick, the stealthily vicious pixie, the studio could drop this cast in a DMV with a pitch pipe and they would make a decent movie out of it — a movie that I would pay to see.

Moves at a swift clip with pungent performances.

Works unexpectedly well for its first three quarters.

An overlong melodrama-by-numbers.

If only its characters weren't such stereotypes.

A better cast this time around — Michael Angarano, Milo Ventimiglia, Sofía Vergara and Max Casella, with cameos by Jason Alexander, Stanley Tucci and Hope Davis — tries to breathe life into Goldman’s cliché-ridden plot.

First-time feature director Clare Niederpruem gives it her very earnest all, but falls short both on continuity issues (a smoldering curling iron, for example, is dropped to the floor and immediately forgotten) and on making her gradually aging cast match up.

The dancing’s fine here, but there’s little else to distinguish Make Your Move, an entirely generic drama.

Outlaws and Angels isn’t perfect — Murray mumbles into his beard way too much — but Eastwood sure is at ease with a cowboy hat and revolver. Clearly, she’s studied with the best.

An instant candidate for the so-bad-it’s-sort-of-great hall of fame, Jupiter Ascending is totally bonkers, a sort of black-velvet-Elvis mash-up of “Star Wars’’ and every other sci-fi/fantasy movie of the past half-century right up to “The Hunger Games.”

Despite being named “Gator Bodine,” Franco seems like something Statham would scrape off his boots. Put it this way: Franco needs a baseball bat to be intimidating; Statham just needs to be Statham.

Jigsaw is a wickedly fun villain, if you can put aside the implausibility of a guy who likes to saunter away from his deathbed to kidnap younger, stronger people and devise medieval torture chambers.

Fanning has little to do beyond grasping her prosthetic stomach, but James is a decent foil for Gere, who gives form to the highly topical subject of how pain meds destroy lives.

An impressive screen debut.

If you have an appetite for audacious, one-of-a-kind filmmaking, this one's for you. Just don't say you weren't warned.

It's a thinly disguised lecture about intolerance, spotted with historical inaccuracies and groaning with dialogue so dreadful that it makes a fine cast look ridiculous again and again.

The biggest problem with the corny horror film Anacondas: The Hunt for the Blood Orchid is that its titular reptiles are about as scary as jellied eels.

What follows is a jumble of cop- and heist-movie clichés, dotted with appearances by actors you liked in something else.

One of the big problems here is that, despite much exposition, the nature of Klaatu's mission on Earth isn't at all clear.

Ambitious, guilt-suffused melodrama crippled by poor casting.