Polina is spare in dialogue; more is conveyed through painterly wide-screen cinematography by Georges Lechaptois.

Salinger, who died in 2010 at age 91, probably would have hated this movie. If Jones doesn’t quite pull it off, it is at least a film of many pleasures and a thought-provoking look at American literature’s most famous loner.

Aronofky gets exactly what he needs from his top-notch cast. Lawrence is appealing and never allows herself to be reduced simply to a howling victim. Bardem, Harris and Pfeiffer are menacing in their own varying ways, with Bardem capable of turning on the charm at key times that makes us wonder if we haven’t misjudged him.

The bold, masterful Beach Rats, one of the most exquisitely haunting LGBT coming-of-age stories ever told, takes place in the unhip fringes of Brooklyn, a land that time has forgotten. But nothing about this film is forgettable.

Home Again is plain vanilla, from start to finish.

The locally sourced documentary is always engaging — lively and well-paced with an impressive list of interviewees from Hillary Clinton to Huerta herself.

It’s smart and funny and makes great effort to capture not just a time and place, but the specific feelings of being on the verge of adulthood and thinking the world is against you.

The film is undeniably energetic, with a lot of good lines written by Shores, but it descends into obvious preachiness, and from this view, the unrelenting wackiness becomes overwhelming. Still, good times are had by all.

Director Byung-gil Jung, a trained stuntman, is an expert in staging action set-pieces, and for fans of dazzlingly violent shootouts on motorcycles and buses, this brutal revenge tale should be right up your alley, even if the proceedings often get sidetracked with a confusing back story.

A play-it-safe film, with its chaos a little too controlled. But Bell’s examination of the institution of marriage has it insights, and there are laughs.

Crown Heights is a challenging film with long treks between uplifting moments. And there’s no question the film earns every moment of grace.

The problem with Birth of the Dragon, George Nolfi’s largely fictionalized account of a 1964 fight between an Oakland martial arts instructor named Bruce Lee and San Francisco instructor Wong Jack Man is that Lee...is the third-most important character in the film.

Gook is at its best when detailing the interactions of the three in the shoe store, but it strikes a more urgent note when the riots break out and the store comes under threat.

It’s less about music and more about how hard it is — and how bad it feels — to be absolutely and completely on the outside. And though the movie is uncompromising on that score — and shows its heroine going through a series of humiliations that are almost as painful to watch as they would be to experience — it’s not self-pitying. It’s dead-eyed accurate, and that’s its ultimate redemption.

The Fencer, directed by Klaus Haro, is basically a “Hoosiers” remake — a true story set in a 1950s small town, in which a coach with a mysterious past arrives to shape a rag-tag bunch of kids into tournament contenders (there’s even a halfhearted romance that seems thrown in at the last minute in both films) — but that’s OK. It’s a winner here, too.

Leap! is the kind of movie where if you see someone holding a stack of dishes, they will certainly break in the name of a lazy comedic moment.

Hamm perfectly plays Walter as a sort of suave, GQ version of HAL 9000, and Davis and Robbins have their most satisfying feature film roles in years. Along with the pitch-perfect Smith, they provide the humanity to Almereyda’s vision of a species in danger of slipping into the void of selective memory and loss.

The result is an unconventional and layered portrait of a complicated talent.

The Trip to Spain, perhaps isn’t quite up to the series’ opener (“The Trip,” 2010), it’s certainly a healthy cut above the second film (“The Trip to Italy,” 2014).

An ideal vehicle for Aubrey Plaza, in that it taps into everything we know she can do and challenges her to do other things that she hasn’t done before.

In the end, the whole enterprise comes off as too clever for its own good, a social satire without a clear target. It’s a movie that you admire more than you like.

Logan Lucky is not a contemptible piece of work. It’s a genuine effort by talented people that never quite comes off.

It’s so uncritical of its subject that it has the unintended effect of undermining its mission, which appears to be recruiting new devotees of the faith.

Salma Hayek stands out in a comic role as the hitman’s impossibly vulgar, assertive wife. It’s also worth noting that there are lots of car chases here, and they actually aren’t boring. That qualifies as a rare achievement.

The Nut Job 2 isn’t maddening like “Smurfs 2,” where you continue to hate yourself years later for spending the money. It’s an adequate babysitter that completely fails to inspire.

The best thing about “Living Boy” is the performance of Cynthia Nixon, who plays Thomas’ emotionally unstable mother.

An impressive effort and an impressive result that opens up a world that most of us have never thought about and renders it with sorrow and vividness.

False Confessions can be admired for its high style and distinct tone, but if you really want to enjoy it, you’ll have to force yourself.