Playing like a script that’s been moldering since Diane Keaton turned it down in 1983, The Other Woman is a weak adultery rom-com in which the most authentic performance comes from a non-housebroken Great Dane.

Walking with the Enemy may not be another “Schindler’s List” (Ben Kingsley has a small but important role as Hungary’s deposed regent) but it’s handsomely photographed (A-list vet Dean Cundey) in Romania and a compelling addition to the Shoah canon.

Small Time has its heart in the right place, but its screenplay’s in serious need of a tuneup.

Pretty and pleasing, but no more. A bon-bon, not a meal.

Carl Kranz, as a possibly autistic boy enamored of Natalia, offers his scenes some heart. But Soft in the Head is drab, ramshackle stuff — up in everyone’s face, and finding very little there.

The horror flick 13 Sins is passable enough when it comes to dialing up the suspense, but the “Saw” formula of a mysterious voice guiding our hero through a series of depravities has gone a bit stale.

This is one of those nature documentaries that’s pretty much solely interested in being entertaining, and so is cleverly edited to look like the linear story of a mother (dubbed Sky) and her newborns (Scout and Amber).

With Fading Gigolo, writer-director-star John Turturro does a passable imitation of a mediocre Woody Allen sex comedy, and guess who tags along for this would-be romp?

The dancing’s fine here, but there’s little else to distinguish Make Your Move, an entirely generic drama.

Lethargic direction, bland visuals, credulity-straining plotting and tin-eared dialogue turn even pros like Rebecca Hall, Paul Bettany and Morgan Freeman into sleepwalking bores.

A fine cast headed by the underrated Greg Kinnear lifts this year’s third major religious movie, the fact-inspired Heaven Is for Real, somewhat beyond its Hallmark Channel-caliber script and visuals.

Draft Day is lumbering and predictable, and its hero general manager is so dumb it should have been called “Dummyball.”

A rather unremarkable, if endearing, entry in the quirky rom-com genre.

I think I’d rather have the waterboarding than the movie’s bromides about how we’re all victims and hate must end.

Legendary hipster filmmaker Jim Jarmusch’s wryly funny exercise in genre bending hits so many grace notes it ends up being his most satisfying film in years.

Like the similar, and slightly superior, "The Conjuring" last summer, Oculus eschews the buckets of gore common to R-rated horror movies and takes a relatively subtle, psychological approach — even if the somewhat disappointing ending leaves the door open for a sequel (or three).

It’s a swift, vivid movie, but 10 years past the scandal, not much is new.

Rio 2 is not what I would call Amazon prime, but it’s got enough silly songs and daffy critters to keep the little ones happy.

David Gordon Green’s Joe largely succeeds in immersing us in a rural world of cruelty, ugliness, decay, neglect and aggression, but if there is a point to it all, I couldn’t find it.

This Morgan Freeman-narrated documentary doesn’t stray much from the nature-doc formula of making its stars look frisky and winsome while sprinkling in a few info-nuggets about the critters (they’re older than dinosaurs!). And that’s just fine.

This retrograde sex comedy is embarrassing for just about everyone involved, but I do think a special endurance shout-out should go to Reid Ewing (“Modern Family”).

Given the scarcity of movies about lust from the female point of view, this is kind of a bummer.

Tedious and pretentious.

Morris is likely to disappoint liberals in The Unknown Known by failing to take down an apparently weak target.

Steve Coogan’s Alan Partridge character — a craven, narcissistic, provincial TV and radio host who has been amusing the Brits for more than 20 years — proves too much of a sketch-comedy creation to sustain a film.

The film’s reckoning, when it comes, is fully as heartbreaking as it should be.

Halle Berry’s latest vehicle is old-fashioned as a leisure suit, but better-looking and a lot more fun.

This pointless study of a witless character is a sad waste of Law’s talents. The more zestily he delivers Dom’s profane tirades, the more you wish Shepard gave us a reason to care about this lout.