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.

Michael Berry’s Frontera offers an unsparing look at the plight of illegal immigrants, even if the ending seems too patly convenient.

Only intermittently does the film treat us to more than snippets of Beal’s woozy, misshapen folk-blues, but perhaps these are best taken in small doses anyway.

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.