What’s the difference between “21 Jump Street” and 22 Jump Street? Same as the difference between getting a 21 and a 22 at blackjack.

Writer/director Andrew Levitas needlessly pads this captivating theme with over-used tropes.

The real unflinching truth is that an average newspaper reporter can do a more artful, compassionate job with a drug-war story than this movie does.

As much fun as it is, this all-star tribute is awfully one-note, never questioning Gordon’s seemingly casual habit of befriending only the ultra-famous.

Swift and often compelling, it’s also blessedly unbiased.

No, this film by director/co-writer Gillian Robespierre just isn’t funny, and the mismatched leads aren’t even interesting together.

Gregg, who previously directed the very dark comedy “Choke,” never quite settles on a tone; from the opening scenes, in which Molly Shannon plays a neurotic stage mom and Allison Janney a chilly casting agent, it seems he’s going that way again, but a dramatic twist sends the film into less plausible territory.

Certainly nails the era, right down to a lengthy pan across a none-too-appealing dinner buffet.

A sickening horror parable disguised as a comedy of mores, the Netherlands’ Borgman is a rarity: a genuinely shocking, upsetting movie.

A Tom Cruise action flick with a strong female heroine and a sense of humor? Edge of Tomorrow has both of those, plus a “Groundhog Day’’-style gimmick that pays big dividends. Over and over.

Shailene Woodley, already a subtle and rangy actress, easily carries the film as Hazel.

The second half, though, is chilling, as the trio’s actions come into sharp, painful focus. Too bad Reichardt has no ending.

Directors Matthew Pond and Kirk Marcolina wisely keep this unrepentant charmer, in her 80s during filming, on-camera, save for when they’re interviewing fascinated writers and fed-up prosecutors.

Writer-director Jon S. Baird has devilish fun with the hilarious black-comic elements of Irvine Welsh’s novel, but the incessant bad behavior does get a wee bit monotonous, and the twist ending is disappointingly pat.

The frequently funny The Grand Seduction is a thoroughly pleasant way to pass a couple of hours.

The film is passionate, but not exactly revelatory.

I laughed more at Seth MacFarlane’s sendup of ’60s Westerns than I did at all the other comedies I’ve seen this year, combined.

No film I’ve seen so far this year has provided the sheer moviegoing pleasure of We Are the Best!

Clearly a labor of love for all involved. Listen carefully on the soundtrack and you’ll hear the voice of Joanne Woodward as Ellie’s mom. Woodward is one of the executive producers of this lovely little film, which is dedicated to her late husband, Paul Newman.

Clive Owen stumbles around the scenery doing unfortunate drunken-writer shtick in Words and Pictures, a formula movie whose script is yet more unfortunate.

The jovial, hyperverbal comic has played against type before, but his presence feels like epic miscasting in this underwritten dramedy.

Manages to be excruciatingly unfunny despite the presence of Pierce Brosnan and Emma Thompson in the lead roles.

This is the sort of movie that gets called “hallucinatory,” but it is strongly grounded in the New York in which 99 percent of us live. Fleischner gets his uncanny effects simply by showing what this city looks like to a child who has a different filter.

Barrymore is still cute, and she and Sandler at least seem to like each other as they get on with the grim business of rom-com contrivance.

Bryan Singer’s whip-smart and witty time-travel romp X-Men: Days of Future Past blows a breath of fresh air through the musty Marvel universe.

The film, like the man, is never boring.

The second half of Godzilla is definitely more fun than the first part of a film I enjoyed overall, if less than last year’s similar dip into giant monster blockbusterdom, “Pacific Rim.”

Cédric Klapisch’s film is meandering and cutesy, but his characters are endearing and every so often he comes up with a deft insight, such as how this city’s streets are like a flayed zombie.