Beaded with amusing moments.

A sometimes insightful, sometimes absurdly devotional but steadily engaging film.

A chainsaw-cut above recent entries in the genre: a pure, unapologetic, unironic homage to the likes of "Friday the 13th" that respectfully salutes all the old shtick.

The plot of the gorgeous Mexican film Alamar -- a father-son vacation -- isn't what Hollywood calls "high concept." But thanks to director-cinematographer-editor Pedro Gonzalez-Rubio, the film might be called "high enjoyment."

There's nary a dull moment in the semi-autobiographical Secuestro Express (secuestro means kidnap), as Jakubowicz pleases the eyes with closeups, sped-up scenes, hand-held camerawork and other stylized tricks.

It’s an impressively realistic touch from a studio that’s neither Disney nor DreamWorks.

It’s substantial food for thought, but too scattered for a two-hour running time.

The coincidences might be too much for some, but viewers who can get past them will be treated to a suspenseful, well-acted, crisply photographed character study.

It's depressing as hell. While most of the seven say they want to beat the habit and become productive citizens, only one, Ron, follows through successfully.

The second half of Godzilla is definitely more fun than the first part of a film I enjoyed overall, if less than last year’s similar dip into giant monster blockbusterdom, “Pacific Rim.”

Overall, though, Paul Feig’s (“Spy”) reboot of the 1984 classic is a goofy, big-hearted romp.

In a film that’s often sad but not without its triumphs, director Morgan Neville smartly explores the complex role that ego and self-promotion play in this profession.

Judging by this passionate film, the medical community -- has no clue about what causes this awful malady and, worse, doesn't seem to care.

The story won't win any prizes for coherence, but that doesn't much matter. As in most Hong Kong thrillers, it's the visuals - love those boldly choreographed shootouts! -- and moments of absurdity that count.

There is a strong emotional connection to Victor Hugo’s giant novel, which has been turned into a Broadway musical, movies and TV shows. This version remains a tale of downtrodden Parisians and dogged policemen who hound them. Only now we get 21st-century twists: teens with drone cameras, members of the Muslim Brotherhood and a Romani circus.

As a one-time suburbanite now living happily in Manhattan, I can attest that Radiant City tells it like it is. The film ends with a surprise that you won't see coming and I won't spoil.

Except possibly for a superlative supporting performance by Hugh Bonneville of “Downton Abbey,’’ Clooney’s low-key directorial effort is not quite an Oscar-caliber movie, though it’s got a great cast, a worthy theme and plenty of things to reward adult moviegoers.

A supernatural “What’s Happening to My Body?” parable in company with “Carrie,” “Ginger Snaps” and last year’s “Thelma,” Wildling is low-key with an undertone of menace, skillfully directed by Fritz Böhm in his feature debut (though some of his nighttime scenes are so dark it’s genuinely hard to tell what’s going on).

1994 plays more like television than a theatrical film. The more limited scope isn’t bothersome, though, because you can only watch it on your TV, after all, and two more films/episodes are soon on the way.

Massoud and Scott make a live-action “Aladdin” succeed on a different level than a cartoon can — as a teary romance. “A Whole New World” is more moving than the original.

Circo is more like "The Smallest Show on Earth" than "The Greatest Show on Earth," the 1952 Oscar winner, but it does provide a look at a unique family and a disappearing way of life.

It's full of Plympton's trademark twisted humor, with lots of sex thrown in.

What makes Storm Surfers 3-D mesmerizing is jaw-dropping footage shot inside brute waves that’s unlike any I’ve ever seen before.

Had me watching through misty eyes, at least for the first half.

On paper, these people may seem like boring statistics. But Andresevic, in her first feature-length film after years of producing commercials for the likes of Nike and Cadillac, turns them into humans viewers will take to heart.

Brace yourself for an explosively brutal finale.

This oddly cheerful, decreasingly dark comedy actually works and can boast some of the most enjoyable performances of the year.

Basically a mega-budget war movie that makes fun of mega-budget war movies.