The gorgeous heartache of songs by the group Belle and Sebastian gives God Help the Girl its dreamy appeal, but thanks to a poky story line it essentially amounts to a series of music videos.

When the legend of Elvis is reimagined as a mushy Christian heartwarmer in The Identical, it’s as if “Boogie Nights” is playing in the background while we hear about the life story of Edna, Dirk Diggler’s nice librarian cousin from Idaho.

Take note, Lars von Trier: This is how you do a truly funny, subversive movie about a woman’s obsession with the human body and sex.

That the story has largely gone untold is a shame, and Kennedy (daughter of Sen. Robert F. Kennedy) has done a service to the country in reminding us.

The Congress doesn’t fully live up to its lofty ambitions, but it does attempt something most filmmakers wouldn’t even dream of — a dystopian blend of live-action and animation that acidly comments on some of Hollywood’s touchiest issues before drifting off into an existential fog.

Dashing, handsome and self-deprecating, Kevin Kline was born to play Errol Flynn.

The film by Yasuhiro Yoshiura suffers from many of the same flaws as other anime features — a plodding pace, broad humor, a bland heroine and snarly, one-dimensional villains.

The photographs on view are dazzling; the way they are shown here is somewhat less so.

Schechter’s soul-scored film is impeccably styled for the time period, and its easy pacing reminds me of the gold standard for Leonard adaptations, “Out of Sight.” It’s not that good, but it’s within striking distance.

This one resembles a James Bond film about as much as Belgrade resembles London.

The movie reveals some of the most stunning landscape cinematography imaginable, while everyone on the isolated ship waxes philosophical — as who would not?

Compared to another recent teen weepie, “The Fault in Our Stars,” this one comes up wanting. That film’s strong point was the delight its heroine took in detonating romantic clichés; If I Stay seems determined to keep them on life support.

Like many movies that premiere at the Sundance Film Festival, The One I Love has plenty of story — for a 30-minute TV episode, in this case of “The Twilight Zone.”

Nearly as good as the average episode of TV’s “Friday Nights Lights,” which makes it better than most movies and one of the better sports films of recent years.

As it stands, there’s little to explain the existence of this confoundingly unfunny film. It’s as if a talented cast (Wilson, Zach Galifianakis, Amy Poehler) assembled to make a comedy and at the last minute was told to play everything straight.

Love is Strange is very well worth seeing for its two stars, who acutely convey the pain their characters feel over their separation as well as displaying their considerable comic chops to keep things from getting too grim.

Time to pull the plug on this brain-dead franchise.

It’s photographically yummy, heaving with sun-dappled vistas and four-star dining. The boys float around a bit in the sea and enjoy homemade pasta while trundling out their impressions of, say, Marlon Brando.

In Abuse of Weakness, Breillat, notorious for her sexually explicit films, casts the excellent Isabelle Huppert as her avatar, Maud, to tell the tale.

If Michael Fassbender wears a giant papier-mâché head for most of a film, is he still mesmerizing? Happily, yes.

The only truly lethal weapons in the criminally unfunny action comedy Let’s Be Cops are the lame script, putrid direction and pair of sitcom stars mugging nonstop in frantic pursuit of laughs that have fled over the state line.

The Giver is at its best when Bridges expounds on civilization’s lost beauty and savagery; at other times, it’s strewn with implausibility: For a totalitarian society in which everyone is monitored constantly, our hero is able to sneak around an awful lot.

Nowhere near as funny as you’d expect with its stellar cast.

Jealousy has a quiet melancholy that’s very pleasing.

They’ve been around so long that they’re now the Middle-Aged Mutant Ninja Turtles, and their ’80s vibe — cowabunga, dude! — is so strong that I kept expecting a cameo by Huey Lewis or Max Headroom.

The found-footage disaster flick Into the Storm is “Twister’’ for dummies, but by no means is that an insult. The new film is enormous fun if you’re in the right mood.

Brief and timely, this documentary directed by Shosh Shlam and Hilla Medalia is also frustrating.

Wojtowicz was a folk hero thanks to the movie, and he cashed in on his celebrity by signing autographs in front of the bank he tried to rob. He also retained the love and support of his wife and his doting mother, both of whom are interviewed with him in The Dog, until his death in 2006.