It’s a master class with a director who profoundly loves the movies, and, in his best work, has shown dazzling skill at making them.

It’s a strength, not a weakness, of Jacquot’s that he makes movies about people. The ideas can take care of themselves.

It’s straightforward, it’s pretty funny and it stars two good actors who seem to be trying really hard to leave audiences satisfied.

The sequel is filled with crowd-pleasing action, adventure and characters — sometimes too many characters. But it rises above its crowded narrative with an intense emotional core, taking a protagonist whose affliction had been played mostly for comedy, and exploring the emptiness and loneliness of her plight.

It’s a taut erotic thriller with the obligatory plot twists and a surprise ending that isn’t all that much of a surprise because Careful What You Wish For is the kind of taut erotic thriller that comes with a surprise ending.

Jessica Tuck gives an emotionally raw performance as Morgan’s mother, and Amanda Plummer’s turn as a trailer park resident sheds more light on Jordan than all the other scenes combined.

The aerial cinematography is breathtaking: We can feel the fragility of the planet, but also its power to heal — if only we give it a chance.

Despite its name, Puerto Ricans in Paris is less a fish-out-of-water comedy than a mild buddy-cop trifle: good natured and sometimes charming, but not enough for its thin premise to approach the magnifique.

Your enjoyment of the movie will depend on whether you can suspend your disbelief — and confusion — and let the magic of misdirection wash over you.

This isn’t just a good horror film. It’s a good film, which just happens to fall in the horror genre.

The dialogue is so earnest that its lack of humor becomes a source of humor in itself. The acting is so primal that you’ll swear a porn sequence is about to break out.

For those interested in this rich period in American literature, it’s a treat.

Deceptively unadorned. In its simplicity, it digs for complex feelings and ideas — and is particularly timely, considering current political winds and Paris’ announcement of its first refugee camp.

The movie makes a point, but it doesn’t build on it. And so the movie becomes as dull and depressing for us as it must be for the central character.

A wannabe weepie about a woman diagnosed with breast cancer, is Spain’s equivalent of a Lifetime movie, but it’s often lifeless, even with a decent performance by Penélope Cruz.

The fight climax and very interesting resolution cap off an exhilarating two hours of entertainment — and suggest a sequel to come. Hope there is one.

There are isolated moments of humor, and even charm. The visual effects are at times outstanding. But these positives are overwhelmed by the uninspired whole.

Presenting Princess Shaw looks and feels like a DIY project, which is fine because the documentary is really a hymn to self-reliance — although bolstered with a modest amount of plain old luck.

Me Before You is just a little better than it had to be. It’s not so much better that it escapes being what it is, a sort-of romance, liberally sprinkled with moments of corniness and emotional dishonesty. But ultimately, when it matters, it’s truthful — about the people depicted, and who they are, and what they face.

“Popstar” has more going for it than outrageousness, though it certainly has that. It has genuine outrage, a good-humored but clear-eyed take on today’s pop culture as a morass of corruption, idiocy and relentless self-promotion.

There’s also a lightness in the tone that yet allows for real emotion and impressive performances. Maggie’s Plan doesn’t quite transcend the limits of the romantic comedy genre, but it pushes at them.

It’s not a sin to tell a one-sided story, Hoover seems to be arguing, when there is no other side.

If you see Alice Through the Looking Glass, prepare to lean forward in your seat just to stay awake.

Love & Friendship looks splendid. If the costumes by Eimer Ni Mhaoldomhnaigh (“Cavalry”) were any more beautiful, they’d be too beautiful.

If you can live with its blemishes, The Lobster is a bracing experience.

That’s all it is, a little bit funny.

The film is a visual feast that combines interviews with vintage footage and reenactments danced in retro clubs, on railroad trusses and in magnificent theaters.

Angourie Rice, who plays Gosling’s intelligent and highly moral 12-year-old, deserves a special mention. The character is an unexpected presence that adds dimension to the story, and Rice plays her beautifully.