Writer/director James Ward Byrkit, in his feature debut, achieves effective chills with only eight actors and a living room, intermixing quantum physics (shout-outs range from Schrödinger’s cat to “Sliding Doors”) with the very mundane human tendency toward bad judgment calls in a crisis.

Paul Haggis’ Third Person has nothing to say and spends 2 ¹/₂ hours not saying it. Its combination of pretentiousness, vanity and vapidity suggests Alain Resnais directing a triple episode of “Guiding Light.”

An explosion of images, mixing seedy, hand-held reality with groovy grindhouse imitations. Most of the shots are vivid, some are even thrilling.

If Think Like a Man Too was a man, he would be the world’s worst date: humorless, shrill, speaking primarily in clichés (“what happens in Vegas stays in Vegas!”) and absolutely terrified of women.

It isn’t quite as clever as it thinks. This is one of those man-written feminist parables that looks an awful lot like a Penthouse art director’s idea of a feminist parable.

Jersey Boys tells a familiar story, yes — but rarely told this well and with this much heart and soul.

In Devos’ hard-charging performance, she’s also fascinating, and that’s all a film requires.

Offers some stunningly beautiful sequences and an engaging, if at times quite dark, story line.

Lawless outback, shotgun-toting banditos and even roadside crucifixions somehow add up to an experience that’s about as thrilling as your average trip to the post office.

Its young director, however, has a considerable flair for surprise and visual gusto, and he even, on a shoestring, delivers sharp-looking special effects.

Like the reanimated corpse of a teen queen, this would-be cult movie looks the part, but has little going on inside.

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.