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.

Kaili Blues has the kitchen-sink feel of a new director eager to try every art-film technique in the book, but the film’s beauty and inventiveness are riveting.

It’s kind of cute but mostly just awkward, somewhere between watching bros who slept through French class trying to work their game in Nice and endless CBS sitcoms about nutty guys ruled by exasperated, boring women.

Some editing would have made The Nice Guys easier to love — at times it feels as bloated as Crowe’s gut. It’s neither as fast, fresh or as funny as Black’s “Kiss Kiss Bang Bang’’ (2005).

Smartphone apps don’t particularly lend themselves well to political allegory or satire. But that’s precisely what the makers of this fitfully amusing animated adaptation of the once-popular game seem to be fruitlessly attempting.

Director Ben Wheatley (“Kill List”) is masterful with arresting imagery set in a dystopian spin on the ’70s; less so with a compelling narrative.

I tried squinting. Didn’t work. I turned my head slightly to the side. Uh-uh. No matter what I tried, I could not, cannot and never will be able to see Ewan McGregor as Jesus Christ.

Cross “Dog Day Afternoon’’ with “The Big Short’’ and throw in a dash of “Network’’ and you’ve got Money Monster, a clever financial thriller with comic overtones that’s a solid investment of your time thanks to stellar work by George Clooney and Julia Roberts.

A so-so heist movie whose dirty-cop character’s personality must have been described in the screenplay as “Nicolas Cage-esque.” Fortunately, Cage was available.

It is engrossing, even funny at times, but it is a bit too jagged in execution to properly build to its tragic climax.

Davies’ quiet, painterly film largely eschews musical cues that would heighten its emotional impact, but as it is, Sunset Song is captivating in its sincerity.

Loaded with dazzling ideas that don’t ultimately pull together.