This is the sort of film that will admittedly make some people uncomfortable, and that’s sort of the point.

Bidding to be the “Terms of Endearment” of zombie movies, Maggie sucks all the life out of an idea that just won’t die.

It’s that priceless dialogue, the bitter ironies, the magnificently skeevy cast of characters and even the overall structure that make The Seven Five “Goodfellas” in blue.

Hamer’s style is what might happen if Ulrich Seidl liked people, with immaculate balance in each shot, but the emotions in focus, as well. 1001 Grams is wise about both grief and the need for romance.

Marie’s Story will feel familiar, which is mostly a tribute to the enduring power of Helen Keller’s biography.

The Spandau Ballet documentary Soul Boys of the Western World has all the kooky clothes, zippy songs and ’80s optimism you could ask for in a film about a group that had only one big US hit (but several in the UK). Why do I find it hard to write the next line? The band wasn’t that great.

Ride sounds a bit like a Lifetime movie, but in Hunt’s capable hands it’s a brisk, funny and touching comedy for boomers.

This is the penultimate film of Albert Maysles, who died on March 5, and Iris has a bit in common with “Grey Gardens,” his masterpiece. Apfel, unlike the Edies of that movie, is sane — so much so that the movie’s main flaw is lack of conflict. Iris’ marriage to Carl, who turned 100 during filming, is incredibly sweet.

Vinterberg aces the metaphor-heavy scene in which Troy demonstrates his swordsmanship for an inexperienced, dazzled Bathsheba.

Whedon keeps approaching ideas, but every time he does so he leaves a flaming bag of dog poop on the doorstep, rings the bell and runs away tittering.

Despite the blazing guns, this script is not so tough.

The film is as tender and endearing as a lamb, a lamb at rest in a fragrant atmosphere. It’s a film that has a determined, unironic respect for things past. It’s as if millennial hipsterism, with its feigned fascination for all things retro, took a surprising further step: actual respect for learning, for experience, for wisdom.

Pollak obviously had fun, but you get the feeling the best bits never made it in.

The pleasant but forgettable Adult Beginners strains a bit too hard for a happy ending, and tends to lay on the schmaltz and metaphors (like the swim class that gives the film its title) with a trowel.

Though Wilkinson gives an atypically restrained performance that lends the movie its best moments, and Watson manages to breathe a little life into her underwritten character, the movie is hopelessly simple-minded, with corny fantasy sequences, slathered-on folksiness and a plot twist that it would take a miracle of self-delusion not to see coming.

Soggy, strictly by-the-numbers crime thriller.

Crowe makes the most of his own quiet presence, and this ode to the world’s never-recovered soldiers and their families is a fitting meditation on the insanity of war.

It’s his home movies with Love and baby — some playful, others drugged and drooling — that fans will find the most emotional viewing. As the credits roll, it’s hard not to just root for the sensitive, progressive, fiercely creative Cobain and wish that he’d lived long enough to find a little peace of mind.

Just Before I Go is a “Garden State” retread in which filthy jokes gradually cede ground to sentimental slush.

Is it never funny? No, it’s not never funny. It’s just not funny nearly often enough.

More funny than scary.

Franco’s distancing routine helps sink True Story, an already turgid and tone-deaf adaptation of a self-serving memoir by a disgraced New York Times reporter (played by two-time Oscar nominee Jonah Hill) who bonds with a murderer he’s trying to exploit.

Tender, heartfelt and exquisitely dull, the drama Félix and Meira illustrates the perils of trying to tell an emotional love story with meaningful stares and long pauses.

Antarctic Edge will make good viewing for science classes of all levels, and ideally inspire a new generation to continue this hardy mission.

On the whole, though, you couldn’t do much better than Monkey Kingdom to get kids invested in learning about, and protecting, the natural world.

Ivo’s farmhouse looks leftover from another century, which gives a timeless feeling, as does the regal bearing of Ulfsak and the dry humor of the script. The film telegraphs its pacifist message early on, but it’s still deeply affecting.

The ludicrous action thriller Beyond the Reach fails to achieve the Southwestern noir potency of “No Country for Old Men,” but there’s no denying it brings to mind another Southwestern classic about malicious pursuit: the Road Runner cartoons.

Calling Child 44 a mash-up of “Dr. Zhivago” and “Silence of the Lambs” doesn’t do enough to capture how strange it is.