While highly entertaining and sometimes inspired, Black Mass is more like Scorsese lite. In perhaps the most memorable sequence, Bulger sardonically tests a childhood friend (Joel Edgerton) for loyalty by teasing out a “secret” steak sauce in what’s basically a reworking/homage of Joe Pesci’s famous “I’m funny, how?” scene in “GoodFellas.”

He may be saddled with an overly ironic title role, but Bystrov is terrific. His cowboy squint and dogged intelligence are enough to give you hope for Russia, although the movie certainly won’t.

The film has a nice sense of female friendships’ emotional depth. But as a woman, Duris (while amusing) is not much more convincing than Tony Curtis and Jack Lemmon in “Some Like It Hot.”

Like the film itself, it’s simple but well-executed enough.

In Zhang’s capable hands, their love story — in which Yanshi masquerades as various workmen in order to see his wife and attempt to jog her memory — is elegantly touching, as is the slow repair of the relationship between father and daughter.

Only in the heartfelt closing minutes does the film cut any deeper than a tired episode of a sitcom about children of immigrants complaining about their hopelessly old-fashioned parents.

Rom-coms died because they weren’t very rom and didn’t have enough com. But Sleeping With Other People, which is both hilarious and emotionally alive, is as delightful as a first date that crackles with possibility.

There’s a nice candor and sweetness about the players, especially Butterfield and Sally Hawkins as his mother.

Be warned that Wolf Totem, featuring one of the final scores by the late great James Horner, is probably too brutal for younger children and more sensitive animal lovers.

Perhaps this year’s timeliest film — as well as, unfortunately, one of the hardest to sit through.

The Transporter Refueled is a story of bodies: sleek, curvy, luscious bodies, purring for action and ready to let you do anything to them. They’re hotties, these Audis.

Daniel Lee’s elaborate Chinese historical action epic Dragon Blade certainly gets points for creative casting, as well as its gorgeous widescreen visuals.

Sunk by too much schmaltz (even for the Lower East Side).

If you thought Matthew Broderick looked uncomfortable playing “himself” in “Trainwreck,” wait till you get a load of the actor portraying a married man who wonders if he’s gay in Neil LaBute’s mean-spirited comedy Dirty Weekend.

Plays like an unintentional mashup of “Being There” and “Elf.”

This is mostly a sad and bloody tale, as the Panthers are decimated first by the machinations of J. Edgar Hoover’s FBI, and then by dissension in their own ranks.

Director Jay Karas doesn’t exactly reinvent the wheel as he puts this odd couple through the paces of getting in shape and reconciling old wounds, but he’s helped by some laugh-out-loud quirk in Gene Hong’s screenplay, nice comic chemistry between the two leads and supporting players like J.K. Simmons.

A Walk in the Woods is broad as a barn door, with two stars who have minimal chemistry — and there’s not much in the way of reflection about mortality.

Even an engaging performance by Margot Robbie as the proverbial last woman on Earth isn’t enough to save Z for Zachariah from becoming yet another ploddingly pretentious Sundance dud.

Casting aside warnings and physical threats from the townspeople, this once-demure teen girl embraces her wild side with a gory, punk-rock abandon.

A study in intoxicants: drink, drugs, youth and Emily Ratajkowski. All four are potentially dangerous, yet nearly impossible to leave alone.

Brazilian director Anna Muylaert’s deft, funny film is set in São Paulo, but the class distinctions shown have no borders.

Feels like an homage to the early work of Wes Anderson with its plinky soundtrack, solipsistic banter and emphasis on uniforms.

What keeps the movie nervy and kinetic is that, for a good hour, it never seems that Jack and family are anything but average people who somehow manage to survive one hellacious trial after another, even when it comes to having to kill another human being.

This engaging, funny documentary catches up with Beltracchi as he and his wife are serving time in an “open” prison in Europe.

What begins as a clever action-comedy a la “Pineapple Express” or Eisenberg’s earlier “Zombieland” devolves into a standard shoot-’em-up, with gore splashed around to distract us from the dearth of wit.

Tomlin and Elliot relive their characters’ pain and anger so deeply that they could very well both end up with Oscar nominations.

It’s all as pointless as the asthma inhaler with which one character treats his advanced lung cancer.