The movie’s ridiculous.

So this film feels less like an easy paycheck and more like semi-retirement. Whatever wisdom is coming out of Redford’s mouth as Bryson, it always seems 100 percent clear he pursued the role because the shoot would be beautiful and he could pal around with an old friend.

Strict plausibility isn’t necessary in these movies, and while No Escape doesn’t completely throw it out the window, it still inspires the occasional unintended giggle.

One wishes Lee’s mother (Judith Light) and stepfather (Sam Elliott) were in the film more; their conversations with Lee about marriage and love rung true. The rest is just empty dialogue.

Offers some hit-and-miss pleasures, but may finally strike you as pedestrian.

Lily Tomlin has been one of our best comedic actresses for the past 50 years, and she’s at the height of her powers in the beautifully observed dramedy Grandma. Her performance is funny, acerbic, touching — and ultimately, exhilarating.

The makers of We Are Your Friends got halfway there, and then lost the beat.

It’s a delicious, yet far-fetched setup that pushes the limits of believability, even when we consider how powerful denial can be. But director Christian Petzold never loses control of his taut film.

It’s an elaborate and artificial concoction, without any discernible ambition behind it.

Hitman: Agent 47 takes an austere European aesthetic and combines it with Hollywood mindlessness, and the result is like a guilty pleasure, minus the pleasure.

The screenplay is deceptively tight, even as the main characters seem to be buzzing aimlessly through the proceedings. Like the most successful films of the drug-hazed genre, this movie only appears to be going off the rails.

Strouse’s film is about the changes that occur in all relationships and about letting go when it’s time. It will probably not change your worldview about any people, places or things, but it’s a pleasant way to spend a couple hours.

It is not a pleasure to sit through, not even remotely, not even by some stretched definition of the word “pleasure.” It’s work, but it’s ultimately rewarding work. It tackles some truths that other movies wouldn’t touch, not even with a stick and thick gloves.

The film is likely to attract new readers to the book — and remind longtime fans why they were attracted to the writings in the first place.

Ritchie is a director with no instinct for the audience, and he can’t hold things together for an entire film. He seems at a loss, from moment to moment, as to what he should emphasize.

Now in middle age, members of N.W.A. no longer believe all of the hype. They’re in an introspective space, to the great benefit of this film.

Dark Places isn’t a disaster of a film. Instead, it’s the definition of average, and we wish it could have taken us to some more interesting places.

The actor suffered deeply, and however much he’s responsible for that, it’s hard not to feel some compassion for a bright and sensitive artist who, at least early on, seemed full of life.

Wallace’s 2008 suicide informs the film and Jason Segel’s performance. What Wallace wants to say, tries to say but can’t quite say is that, having reached the summit of success, he sees an even bigger mountain in front of him. His anxiety about holding it together in the face of newfound celebrity is no affectation. He’s frightened of it and probably has good reason to be.

Like in so many silents, the plot is joyously minimal.

The Gift stretches things a little too much for it to be a first-rate thriller. Still, among second-rate thrillers, it’s one of the best.

If only Streep would have put down the microphone and let Springfield sing “Jessie’s Girl,” Ricki and the Flash might have had half a chance.

Is it a home run? No. But at this point, comic fans are just happy to see Fox play error-free ball with their Marvel adaptations, and Fantastic Four mostly qualifies.

The car chases and other stunt work are excellent, although there could have been more action, and the downtime scenes of the characters plotting their next move or ruminating on money’s role in moral corruption are fine. But the bottom line is there’s nothing super original here.

Even the interesting parts of A Lego Brickumentary aren’t that interesting, but are rather more like the best thing you might hear while being cornered by the most boring person at a party.

It’s a testimony to how much this is a live issue in Indonesia that some of the credits are listed simply as “anonymous.”

Gainsbourg is always going through a little more than she cares to tell the audience about, but the connection her character makes with Samba — real, complicated and not typical — is one of the movie’s highlights.

McQuarrie devises a film that’s a succession of riveting sequences, filmed in a way that’s active and yet elegant. The camera keeps moving within shots, but not in a subjective, jittery way, but rather like a third person narrator calmly emphasizing the essential points.