This entertaining and handsome-looking version of The Magnificent Seven is very much tailored to his star, right down to Washington’s real-life history as a preacher’s son.

Running and screaming may be essential to a lot of horror movies, but as Blair Witch shows, they’re not scary in themselves. For that, you need the stuff between the running and screaming.

A cute, spunky found-footage thriller undone by a lumpy plot and a weak ending, Operation Avalanche revisits the urban legend that the moon landing was faked, with some fresh twists.

Archival footage is combined with somewhat affected-looking re-enactments, but the film achieves its purpose: to remind us that we still have thousands of bombs, and neither they — nor we — have gotten that much smarter.

On one hand, third installment is series of hilarious meditations on trials of being middle-aged woman, co-written by feminist goddess Emma Thompson, who gives self all best lines as deadpan OB-GYN.

Snowden could have been a character portrait, but instead it’s like “The Bourne Identity” minus the chases and fights, which is like a ham and cheese sandwich minus the ham and cheese. As a consequence, I suspect, this film will make no bread.

Deeply personal screenwriting and a superlative performance by Molly Shannon as a dying mom lift Other People above the level of many similar tragedy-inflected indie comedies.

Author is one of the most entertaining documentaries in recent memory — and, possibly, the origin story of catfishing.

So dull, the kids in my audience didn’t laugh until 45 minutes in — And that was at a coconut head-bonk, a gag so timeless it almost doesn’t count.

This movie is resolute about being as homey and obvious as it can possibly be. Somewhere, Norman Rockwell is thinking, “Sheesh, even I was edgier than this.”

The result — directed by Rufus Norris and setting words collected by Alecky Blythe against music by Adam Cork — is mesmerizing.

At its heart, this is a thrilling tribute to a modest hero who rose to an extraordinary occasion.

A dopey psychological thriller that combines elements of “The Sixth Sense” with an overbearing sentimentality, The 9th Life of Louis Drax flat-lines from beginning to end.

Good-looking but tonally dubious feature debut from Elizabeth Wood.

The film can be rough going for those who know little of Berger’s work. That’s especially true of the second part, a stupefying collage about Berger’s home in rural Quincy, France.

Two decades after his last film, the legendary Jerry Lewis performs a truly unfortunate encore playing an elderly widower in writer-director Daniel Noah’s morose and thoroughly unconvincing drama.

Beautifully photographed and acted, with a somberly affecting tone, the film, by Derek Cianfrance, is nevertheless marred by severely contrived elements.

A dull, listless, derivative chunk of celluloid lacking any spark or even basic storytelling ability.

A vague, syrupy soundtrack plays across scenes both current and past, making the whole thing feel like a bad soap opera.

A pleasingly low-key effort pitched at fans of the first couple.

It’s a blatantly terrible idea with potential for comedy, but DuVall’s sometimes amusing screenplay has trouble finding its footing as an ensemble portrait of struggling relationships.

A gooey morass of indie-movie clichés, the wacky-family dramedy The Hollars marks yet another egregiously cutesy attempt to rekindle that “Garden State” magic.

Apart from its thin characters and occasional trite moments, as well as a silly attempt to set up a sequel, Don’t Breathe is just about perfect. It’s as lean and relentless as the best John Carpenter films.

Trite and vulgar boxing flick.

While clearly on the side of the protesters, the filmmakers are still determined to explain every legal detail, and at times matters become bogged down in endless televised journalists and snappish legislators.

It’s a small movie, but in his third feature, indie writer-director Chad Hartigan proves he is a major talent, imbuing the interactions with wit and warmth and charm.

The movie’s strength is, surprisingly, the narration, spoken with gentle gravity by Moni Moshonov.

Despite a traditional-seeming quest for a suit of armor and a sword, the film’s intrinsic message is all about the transformative powers of music and love. It’s a movie the whole family can rock out to.