This is the British way to mingle ideas and entertainment.

Fairly shapeless story.

Walking a tightrope between high farce and emotional truth, writer-director Gabriele Muccino's breathlessly paced Italian comedy The Last Kiss manages to stay just this side of melodrama.

A rare and welcome reminder of how original, provocative and moving a low-budget independent film can be.

What with the unexciting hand-held camerawork, and the off-putting script and lead performance, Francine remains as frustrating as its inscrutable title character.

Naz & Maalik does what all great New York movies do: ground unique, engaging stories in the middle of the glorious chaos that is our city.

Except for a couple of isolated, mildly subversive moments, Hanks is basically playing the genial host of “The Wonderful World of Disney’’ rather than an actual person.

Sally Hawkins is the heart and soul of Made in Dagenham, but another actress to watch for is the equally wonderful Rosamund Pike. She steals every scene she's in as the sympathetic wife of Rita's sexist boss (Rupert Graves).

Dan Stevens (“Downton Abbey”), as the Beast, has the heaviest lift. He’s emoting through a CGI veil that never quite feels real. But his cranky character is more engaging this time around.

Call it a spiritual Woodstock.

The best evidence of this troubled man's genius is provided by ample samples of his music, much of which will be familiar to fans of Warner Bros. cartoons from the '30s and '40s.

Director Matthew Vaughn, who did last year's delightful "Kick-Ass," doesn't do witty this time around, but he does keep up a spiffing pace while making the action blaze.

A wonder to look at, even as its increasingly pretentious manga-inspired story line outstays its welcome.

Hamer’s style is what might happen if Ulrich Seidl liked people, with immaculate balance in each shot, but the emotions in focus, as well. 1001 Grams is wise about both grief and the need for romance.

Clearly, the elder Scott’s aim is on the scares — and oh, what satisfying, terrifying, screams-echoing-down-a-ship’s-corridor scares they are. All the philosophical debate here belongs to the robots — which is possibly even more chilling.

Less an awful movie than a totally uninspired one. The under-5 set may find it funny, though I suspect their parents will be checking their watches a lot, as I did.

This one is a “different kind of superhero movie,” meaning even more fiercely attached to the mode of artistic expression known as “puberty.”

All the film provides is this bulletin: Lefties are angry about the things Lefties are angry about, chiefly corporate profits.

It’s almost impossible to resist The Lego Movie 2 for its continued everything-is-awesomeness, even if it does fall back on the trope of playthings terrified of being relegated to the storage bin.

The writer-director, who goes by the name J Blakeson, keeps the suspense level high for the first hour or so, but he then indulges in a few plot twists that strain credibility.

If we send Sally Struthers money, will she be able to stop this kind of suffering from taking place in Beverly Hills?

Frantic and out of control - and great fun to watch.

Rambles on for nearly two hours with subplots that go nowhere -- and half-baked leftist political commentary -- before focusing in for a quietly devastating climax.

A gleefully cunning comedy.

Acceptably diverting Saturday night at the movies, especially if you're willing to check your brains at the popcorn stand.

Despite the title, there is no nudity in the Chinese rom-com Love in the Buff, although there is a lot of risqué language.

Merely a passably amusing excuse to pass a couple of hours in an air-conditioned theater.

Director Ben Wheatley (“Kill List”) is masterful with arresting imagery set in a dystopian spin on the ’70s; less so with a compelling narrative.