It’s an ambitious, often arresting film, but it lacks cohesion, and the seesawing plot and motivations seem more indecisive than mysterious.

Feels both deeply rote and way overpacked with characters.

On the whole, it’s a pitch-perfect love letter to “Ab Fab” devotees. As for newcomers? My advice: See it after a couple of Stolis, darling, and you’ll be just fine.

They should have called it “Star Trek Into Drowsiness.”

Cheesier than a Kraft Singles truck but half as subtle, Dinesh D’Souza’s documentary Hillary’s America: The Secret History of the Democratic Party is an attack on all things Democratic whose many valid points get buried under bluster

A scrapbook of bits from better Allen films that builds up to a hearty shrug.

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.

Doremus can’t quite make the emotional breakthroughs rewarding enough to justify the slow buildup, but the icy beauty of the film makes it worth watching.

Frank’s work is phenomenal, but his longtime editor and collaborator Laura Israel seems determined during the course of her documentary never to give you a moment long enough to contemplate it.

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

The Infiltrator satisfyingly builds to an improbable but ripped-from-the-headlines climax.

At the end the film turns into an infomercial for President Obama’s Iran deal, but Gibney delivers plenty to think about — and fear.

Janet McTeer, Octavia Spencer, Diane Kruger and Jane Fonda brighten the screen momentarily, all in too-small roles.

For John Cusack in Cell, the bad news is that his phone just ran out of juice. The good news, sort of, is that those who are on their phones were just attacked by a piercing signal that turned them into flesh-munching zombies.

As filthy as the back of a sanitation truck — but it has heart, too. Most of the comedy is funny, some of it is hilarious.

Hollywood has been yukking it up over North Korea and its comical-looking leader for some years now. There’s nothing funny about either, and Mansky shows why.

Albert Brooks shows up as a red-tailed hawk whose desire to help clashes with his killer instincts; Dana Carvey is pitch-perfect as the ancient basset hound whose back legs are in a wheelchair.

Captain Fantastic isn’t only one of the year’s best movies, but one of the best cast and best acted, right down to the smaller roles.

A dismal, low-energy affair.

Tarzan does little to adapt to modern times. Perhaps most punishingly of all for Skarsgard’s “True Blood” fans, it fails to ever put our hero in a skimpy loincloth.

The Purge: Election Year imagines that, right now, laws are being ignored, people gun each other down with impunity and the death toll is horrendous. It’s too bad the title “Chicago” was already taken.

Life, Animated oversimplifies the situation, contriving to use endless clips from Disney movies to make a case that movie magic really can better people’s lives. Unfortunately, by the end of the movie it’s clear that Disney can’t help Owen negotiate sex, breakups or many other challenges he faces as an adult.

The actors bring emotional authenticity to the aftermath of trauma, but despite that and the handsome cinematography, there is also a persistent phoniness.

A visually dazzling summer treat.

The first “Independence Day’’ was a lot of fun, with a great lines and cutting-edge special effects. It was much imitated, so the sequel plays like a faded, eighth-generation copy with a cast that’s shooting blanks when it comes to humor.

Written and directed with compassion by Noah Buschel, the film is a low-key chamber piece better suited to television. But don’t let its restraint fool you: As unshowy as it is, The Phenom has an impressive collection of tools.

Free State of Jones is enticingly difficult to chart. It’s anti-war, anti-plutocracy and anti-racist, but it’s also pro-Bible, pro-gun, anti-tax and sympathetic to the poor whites who usually get tagged as racist. Its hero is an avowed Republican named Newt.

Daniel Radcliffe continues to propel himself further from his Harry Potter past, this time via straight-up flatulence: Swiss Army Man nearly makes up with juvenile glee what it lacks in plot and coherence.