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.

Sharp, funny and as mesmerizing as the master’s notoriously languorous suspense scenes.

This erotic noir is about as substantial as one of its female lead’s string bikinis, but it’s an enjoyable trifle nonetheless.

Jude Law gives arguably the worst performance of his career as Wolfe in Genius, the ham-fisted directing debut of noted British theater figure Michael Grandage, bombastically adapted by John Logan (“Gladiator’’) from a biography by A. Scott Berg.

No, Warcraft isn’t a ridiculous mess; it holds together on its own musclebound terms. It neither tries to be jokey nor undercuts itself by being unintentionally funny. And it offers a bit more complexity than some other nonstop action flicks adapted from video games. It’s a real movie, just not a good one.

The Conjuring 2 belongs to Wilson and Farmiga as the sincere, loving, slightly square Warrens, with Wan tightening the screws for a rousing series of cliffhangers that should have audiences screaming. Expect another sequel for sure.

Thaddeus Bradley, narrating in tedious metaphors about how “there’s always more than what’s on the surface.” That’s one claim this shallow sequel simply can’t back up.

Unfortunately, his machine fails en route; way more unfortunately, he comes up very short compared to Mark Watney, the red planet-stranded astronaut played with such humor and energy by Matt Damon in last year’s “The Martian.”

The climate-change documentary Time To Choose makes the disaster movie “The Day After Tomorrow” look like a model of judiciousness and restraint.

Solomon and Genovese remind us that all witnesses can be unreliable, in one way or another. The emotional impact comes from the gentle way the film reveals Kitty Genovese as a loving, vibrant person, and not as a symbol.

A movie that sets out to make boy bands look silly. The conceptual error is obvious. There’s low-hanging fruit and then there’s fruit that’s already on the ground, rotting underfoot.

This unambitious Michael Bay-produced version doesn’t seem interested in cleverness, cravenly settling for the usual generic CGI shtick.

Unfortunately, this ultra-glossy romantic drama derived from a best seller twists into very dark territory — a drastic tonal shift that neither its stars nor debuting director, Thea Sharrock, a respected stage veteran, manage with dramatic credibility.

A refreshingly positive ode to the power of the Internet to bring far-flung artists together and change lives in the process.

The film is impeccably shot and paced, but the radical real-world implications of Wise’s agenda are never fully explored.

You certainly get your 20 bucks worth of spectacle out of Alice Through the Looking Glass. So breathtaking are the landscapes, so whimsical are the creatures, so marvelous are the marvels that I wanted to give a standing ovation to whoever signed the check to pay for all this. Expensiver and expensiver!

Mostly, though, it’s the same old story: Bad mutants versus good mutants, with the fate of us humans — mostly off-screen, disturbingly expendable — hanging in the balance.

The dark side of pregnancy and motherhood has long been fertile filmmaking terrain; this queasy, quiet horror film tips its hat, inevitably, to the genre’s standard-bearer, “Rosemary’s Baby,” but comes up a bit short.

Maggie’s Plan isn’t perfect — the threads of its plot are sometimes a little too loosely knit — but Miller’s clearly got her finger on the pulse of the New York intellectual comedy.

Too bad the film around Brody is fairly by-the-numbers, with a mean-spirited kicker that doesn’t imbue much originality to its imperiled-female plotline.