It’s adequately visionary, it’s routinely spectacular, it breathes fire and yet somehow feels room-temperature.

An utterly clueless, relentlessly grim and rambling action epic guaranteed to displease devout Jews, Christians and Muslims alike, amuse atheists — and generally bore everyone.

There are a lot of parallels with “Breaking Bad” here: the Southwestern setting, the dorky husband turned criminal, the blond wife and the scene in the carwash. But if you can avoid dwelling on its derivative qualities, After the Fall has its own case to make about how far the middle class has fallen — and continues to slide.

Inherent Vice, meandering even by Anderson’s standards, is easily the worst of his movies, a soporific 2½-hour endurance test.

Seeing this great actress, age 84, draw real feeling and laughs from such mediocre material is worth the watch.

If this documentary is swift and witty, that’s in part because it relies heavily on clips of Orson Welles talking. And oh, how Welles could talk, that beautiful voice wrapping itself around tall tales and wine commercials with equal grace.

If Top Five doesn’t go deep, though, it is intermittently very funny.

It’s well-executed but familiar territory, with a dearth of jarring moments. Those of us who aren’t friends and family of the crew could use a little wake-up shove here and there.

Thin yet excruciating, the film is a quintessential vanity production. The script feels like a first draft that aspired merely to mediocrity and fell well short.

You won’t see a better performance by an actress on film this year than Julianne Moore as a linguistics professor struggling to hold onto her personality after a diagnosis of early onset Alzheimer’s in the unforgettable drama Still Alice.

Heavy on quirk and light on wit, first-time director Gillian Greene’s comedy leans too heavily on the badly wigged Kranz.

Farrell feels like a weak link here, never quite as masterfully manipulative or brutish as the role calls for.

The writer-director of Dying of the Light is Paul Schrader, screenwriter of “Raging Bull.” The star is Nicolas Cage — Raging Tool.

Fogel’s focus is female friendship, and the challenges presented by growing older and pairing up. It all makes for a rocky road, regardless of the romantic rival’s gender.

Laura Dern — only nine years older than Witherspoon’s fresh-faced 38 — could also net a Best Supporting Actress nod for her outstanding work as Cheryl’s spunky and nurturing mothe.

Turing’s tale needs to be more widely known, and while The Imitation Game may not be a great film, it is an important one.

A lazy, noisy ADHD-addled collection of animated clichés guaranteed to give anyone older than 5 a headache, even if you don’t see it in optional 3-D.

The three friends do things that venture beyond entertainingly dumb and into exasperatingly unbelievable.

The film’s slightly confusing ending doesn’t spell anything out, but that’s all right: We’re left sitting in the dark shivering, reassured there are still some directors who can leave us well and truly creeped out.

Played with enormous charm by Samuel Lange Zambrano, Junior is a handsome kid.

Yes, it’s gross, and no, it’s not remotely original.

The surreal images, offbeat jokes and pointed human-rights allegory make this an altogether different experience from most American animation. It’s dreamy, poetic and not to be missed.

Imagine “The Graduate” as rewritten by a golden retriever, and you’ll have some inkling of the intelligence level in the rom-com All Relative.

This crowd-funded — and overcrowded — collection of interwoven stories, directed by John Herzfeld, plays like an amateur-acting exercise in which each participant picks a name and a couple of defining props.

Hopefully Jennifer Lawrence will actually be given something worthwhile to do next time around. That would actually be worth paying to see.

From time to time, it works.

Mesmerizing, eerie and unpredictably weird.

The film’s mix of elements of “National Lampoon’s Christmas Vacation” and “Bad Santa” is amusing.