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.

Quotable, controversial, anarchic, charismatic and handsome (in an ugly way), the zany avant-garde rocker Frank Zappa had everything one needs to be a star, except talent.

It’s too bad there’s already a movie out this week called “The Shallows”; it would work so perfectly for the new film from Nicholas Winding Refn (“Drive”).

You may or may not connect Brinkley to a certain presidential candidate, but, either way, this is one of the most entertaining documentaries to come along in some time.

The girl kept talking and strategizing as heavy string music played on the soundtrack. This was doubly weird because: a) it made me feel like the bad guy; and b) life doesn’t normally have a soundtrack. Somehow the bitch got hold of a flare gun. Ever had a flare gun fired into your hide? Unpleasant.

The considerable comic talents of Alison Brie (“Community”) are squandered by this exhaustingly quirky indie romance.

There’s such a genuine sweetness to Johnson you can’t help digging the shtick.

If it’s possible to make a morally old-fashioned film about teen orgies, writer-director Eva Husson has done so with Bang Gang, a quietly chilling look at the sex lives of a group of bored high-school students.

This loopy absurdist comedy is the final work of Andrzej Zulawski, the famed Polish filmmaker who died in February.

If there has ever been a better voice performance in an animated film than Ellen DeGeneres’ in Pixar’s wonderful sequel Finding Dory, I sure can’t think of it. Her tour de force even surpasses Robin Williams in “Aladdin.”

Imagine “Moby-Dick” rewritten in crayon, and you’ll get the idea.

Pace and mood are equally glum, and so much information is withheld that the twisty relationship can’t build much tension.