It’s not great art (in fact, it’s pretty low-rent CGI), but it’s passably entertaining.

Annabelle is mostly a grab into the Great Big Bag O’ Horror Clichés: sound-bombs of shrieking violins explode randomly, doors slam unbidden, rocking chairs creak by themselves, machines suddenly whir to life.

Eerie and utterly riveting.

For parents of very young children looking for a weekend distraction, “Color City” is passable fare — and will at least inspire kiddies to finish what they start, coloring-wise.

The Good Lie may not be anything like Witherspoon’s version of “The Blind Side” (as the ads also imply), but it’s a heart-tugger that’s definitely worth seeing.

Terry’s talent is so magical that you may wish there were longer snippets of his playing. Still, this is a wonderful portrait of two artists strengthened by friendship.

What elevates Men, Women & Children considerably above a dramatized (and occasionally over-dramatized) lecture on the dehumanizing aspects of the Internet is the consistently high caliber of acting (including, yes, Sandler) and spot-on narration by Emma Thompson.

There’s nothing hugely original about the script by Richard Wenk (who cowrote “Expendables 2” with Sylvester Stallone), but Washington is a master at putting his own inimitable and stylish spin on even the most familiar situations.

A sun-splashed noir that loses its appeal in the last act.

Perhaps faithful to the spirit of the man, but frustrating if you’re actually curious about the facts.

The considerable charms of Miles Teller and Analeigh Tipton elevate this middling rom-com.

The cast, so packed with talent that Jean Reno and Cherry Jones barely register, is stuck with stagey dialogue. Juliet Rylance, in the Nina part, has a particularly hard time. But there are good points, including Janney’s obvious pleasure in her part.

Khaou’s film features masterful performances from Whishaw and Cheng, whose dialogue is somehow intensified, rather than diluted, through the third-party voice of the translator. But some emotions, the film suggests, are impossible to adequately articulate in any language.

Stephen Beresford’s script’s has its cornball fish-out-of-water touches to be sure, but Pride is a bona fide crowd-pleaser — wearing its heart on its sleeve as the film builds to an ending that’s as satisfying as it is surprising.

Engaging as it is to look at, this stop-motion animation film from the young Oregon studio Laika seems to have been masterminded by people thinking, “Everyone loves Pixar. So let’s do everything the opposite!” Admirably contrarian. Like being cast overboard and calling out for an anvil.

The Maze Runner isn’t based on a video game, but you could be forgiven for thinking otherwise. In it, our hero must lead his comrades through a dingy gray concrete maze while dodging cyborg monsters, and it all looks like every gaming trailer you’ve ever seen.

Another project whose narrative gets swallowed by its design.

They don’t make ’em like A Walk Among the Tombstones any more. Mainly because everyone got bored with ’em and stopped watching ’em.

Even with appearances by such dependable performers as Toni Collette, Stellan Skarsgård, Christopher Plummer and Jean Reno, the interminable Hector and the Search for Happiness will most likely inspire audiences to search for the exit door.

There’s a fine horror film inside Tusk, but it’s only 20 minutes long. The rest is just blubber.

The results are remarkably intelligent and entertaining, even for someone who (like this writer) finds Cave’s music rather dirge-like.

Curran (“The Painted Veil”) never imposes any additional structure on Davidson’s story, which may test the patience of some viewers. But I found the sprawling, wild visuals in Tracks, and the long silences as the sunburned Robyn traverses some of the world’s least hospitable lands, meditative and moving.

Finally, a post-“Bridesmaids” film that lets Kristen Wiig shine — and brilliantly taps into co-star Bill Hader’s vulnerable side, too.

Director Catherine Gund most successfully depicts the visceral impact of Streb’s work with her footage of the 2012 Olympics.

The gimmicky title is doubly misleading: The Disappearance of Eleanor Rigby is neither a mystery nor Beatles-themed, but it is an elegantly wrought tale of anguish.

Even for a movie about complying with USDA regulations, Dolphin Tale 2 is a little lacking in excitement.

Yousef’s story, which he retells in the documentary The Green Prince, is one of unimaginable courage and moral awakening.

Kelly & Cal is at its best when focused on Lewis and Weston.