Throughout Zootopia, each bustling frame is packed with so much repeated-viewings-rewarded imagery that the screen must be sampled rather than taken in as a whole.

When viewing the action thriller London Has Fallen, there’s no escaping the reality that you’ve seen everything on the screen before — many, many times. For every bullet, and you will lose count, there is a cliche.

Gods of Egypt is an epic — an epic disaster.

Maybe it’s unfair, but I came away feeling cheated by Eddie the Eagle. It’s a jolly real-life tale about an underdog who made a splash at the 1988 Winter Olympics, and it does make you feel good, but it turns out that the film’s story is 90 percent fiction.

Creating this kind of otherworldly mood takes exceptional talent, and this is a film worth experiencing.

Triple 9 is terrific melodrama, but it’s melodrama all the same, and shameless.

Whatever your religious affiliation, you will come away thinking that if all this did actually happen, it probably happened something like this.

The film is well acted, with especially strong work by Alonso and Zegers. And director Larraín has a powerful knack for depicting human monsters. But he stacks the deck so heavily that at times the film can seem like simple-minded anti-clericalism, and at least some viewers are bound to resist.

Its slow-boiling brew of dread turns out to be more tepid than terrifying.

The film is cleanly made and moves quickly, which enhances its effectiveness. It raises moral issues that simply can’t be addressed too often.

This is a profound saga that makes for a great American movie.

How to Be Single is over a half hour before it’s over.

As a piece of filmmaking, Where to Invade Next gets off to a strong start and then sags in the last half hour, but it makes a lot of interesting points and, in the way it shows other countries, conveys something about the United States.

If the ultra-slow pacing, sparse dialogue and depressingly gray pallette don’t get you, perhaps that super big close-up of a toe-clipping session will.

Sometimes unapologetically stupid and joyously crass, it’s often brilliant in its absurdity, one of those rare comedies where the audience sits there dumbstruck, wondering what crazy thing will happen next. It takes really smart people to make a movie this silly.

This is bad, borderline garbage, but disturbing, too, in that it’s just the kind of fake-clever awfulness that might be cinema’s future.

Fourth Man Out is a coming-out tale with well-worn themes, but its blue-collar spin and appealing cast give it a charm that’s hard to resist.

The Choice has a twist or two toward the end, and they’re about as cheaply maudlin as the movies get. The only choice is to make sure a barf bag is nearby.

Compared with other Jane Austen movies, it isn’t much, but compared with other zombie apocalypse movies, it’s an intelligent, literate effort.

One of the Coens’ most inspired, bizarre touches is to cast Tilda Swinton as rival gossip columnists, twins who hate each other. She’s quite funny — blithe and vindictive in one incarnation, insecure and vindictive in the other.

45 Years is very much an English film and in the best sense. It’s subtle, understated and ultimately devastating, but only if you’re paying attention.

It does not follow the usual pattern of a Hollywood film. It goes to places that are desperate and irrevocable.

At 100 minutes, it feels about 80 minutes too long, and that’s not a good sign. Lazer Team might have made a fun and pleasant short.

Kung Fu Panda 3 has a moment or two for everyone, but no chance develop any character beyond a single dimension.

What happens is important, but more important is how it happens and whom it happens to.

The movie establishes a quality of history by filming in black and white and shooting from a distance, so as to emphasize the broad picture.

While The Lady in the Van is one of those quaint and quirky little films of which the British are inordinately fond, Americans will find it equally endearing, with the exception of the hideously over-the-top final scene.

It has the curse of earnestness. It is so sincere ... it is so sincere it could put you into a coma.