It’s macho eye-candy of the cheapest kind, endless scenes of gunfire and explosions and rugged, handsome actors running while shooting and yelling.

Under the generous debut direction of Damon Cardasis, there’s enough heart and raw truth here to uplift the moments that falter.

It’s a perfect flick for families, but also a jolly time for anyone with a pulse.

Bening forgoes vanity and digs into the humiliation Grahame felt as she aged out of the vampy roles Hollywood typecast her in. Bell brings a sturdy humanity to Peter, a low-key stage actor and nice guy who’s completely unfazed by their age difference.

It’s an exhilarating contrast to the weak-sauce caped crusaders who arrived at the box office last week. For a more convincing (if selectively edited) portrait in heroism, look no further than Darkest Hour.

The crime drama is smartly written and directed by Aaron Sorkin, it features a piercing lead performance by Jessica Chastain, and it’s got something for almost everyone: from gambling and glitterati to the mafia and ice skating.

The scenes are either too heavy (the climax is the downer of the year), too sedate or too gross.

Squanders its big ideas in record time.

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.

As satisfying and polished as you’d expect.

Plummer’s last-minute performance is smashing. In fact, the whole film is excellent.

The preachy “Showman” argues that Barnum should be celebrated for bringing “freaks” like the bearded lady and others out of the shadows and into his shows, but those characters are sketchily drawn.

Who’s the audience for this movie? It’s not smart, scary or funny enough for adults and older teens, and it’s inappropriate for young kids.

At best, it’s a fairly enjoyable hate-watch of a farewell to DDL, charting the course of a twisted love affair between a real pill of a guy and a woman who inexplicably adores him.

Sure, it’s just a space Western, but “Star Wars” is one of the our most popular modern mythologies. Johnson respects that. He’s infused the storyline with new energy and artistry, and I can’t wait to see it again.

Profane, darkly funny, violent and tragic.

Funny — sometimes brutally — and surprisingly touching, it works whether you’ve seen the source material or not, though there are plentiful shout-outs to die-hard fans.

Ultimately, this is a film from a group of terrific talents that never quite comes together the way you'd hope. It's just too fluid to wholly take shape.

Call this movie by its name: Masterpiece.

Coco is packed with terrific original tunes such as “Remember Me” (by Robert Lopez and Kristen Anderson-Lopez of “Frozen”) and “Proud Corazón” (co-written by Adrian Molina, the film’s co-director). But it’s not your average musical, in which characters wail their wants and feelings. That’s a refreshing change.

Justice League is a pointless flail of expensive (yet, somehow, cheap-looking) CGI that no amount of tacked-on quips, or even Gadot’s luminescent star power, can rescue.

It’s a tale as messy as its muddy fields, and it’s a must-watch.

There’s a lot going on here, but Washington’s complex, emotionally turbulent performance makes it all work.

With its gray skies, moody ambience and ominous orchestral score, Thelma fits the cliché about Scandinavian entertainment being dark as hell — in the best way. It’s also gorgeous.

Murder on the Orient Express has been . . . murdered!

This rural drama is the best yet from playwright and filmmaker Martin McDonagh (“In Bruges,” “Seven Psychopaths”), and one of Frances McDormand’s greatest performances.

As a primer on one of history’s less flashy leaders, it’s a worthwhile watch — mostly for fellow Texan Woody Harrelson’s committed performance behind those prosthetic ears.

Waititi emerges triumphant, but it’s a nail-biter.