The film is fun and extreme, and though in the end rather pointless, there’s a certain audacity here — a delight in extremity — that’s appealing.

It’s nice to see Pegg stretch a little and play the bad guy. Too bad Kill Me Three Times doesn’t give him better material.

Long before the finish, Man From Reno has flat-lined.

Everything in the movie is suffused by a vision of life that is resoundingly and evidently false, but as this vision is not repulsive, but is intended to reassure, the lies don’t produce anger or frustration. No, they bring on the laughs.

While We’re Young is one step forward and two steps back for writer-director Noah Baumbach, whose movies are never less than intelligent but, at their worst, tend to settle for gestures instead of movements.

The film spends an excessive amount of time on Ruskin’s psychological abuse of his wife, which makes Effie’s eventual redemption feel rushed and out of the blue. But Thompson has once again proved herself to be a talented wordsmith, imbuing Effie with generosity of spirit and intelligence.

Amazingly, the filmmakers claim that no CGI was used in the film. The cast of dogs are all real (none was harmed in the making of the film), a tribute not only to Mundruczo’s unique vision and filmmaking skills, but also to animal trainer Teresa Ann Miller, a Hollywood veteran.

In the title role, Kikuchi is impressive, easily handling Kumiko’s comic and more somber sides and never allowing us to settle into a single or simple interpretation of the character.

The action comes so fast and furious in Furious 7 that, for all the explosions and overturned cars and missiles fired on downtown Los Angeles, it becomes a dull muddle. Here and there, we get the imaginative and outrageous stunts this series is famous for, but mostly the movie plods along, muscling through without much life or spirit.

By the way, Danny Collins is inspired by the true story of Steve Tilston, a British musician who received a 1971 letter from John Lennon some 30 years after it was written. The gist of the letter was about the same, but all the characters and circumstances are creations of the filmmaker.

For all its hidden-camera footage and teary confessions, the movie rings as true as an episode of MTV’s “Real World.”

It matches up two comic actors and instead of clashing or canceling each other out, they bring in the best possible result: A comedy with twice the laughs.

Most of life is melodramatic — emotional, involving and lacking the dignity of straight drama. 3 Hearts is life as felt from the inside.

Funny how there are fans of Jennifer Lawrence who will never see her in Serena. It’s not her best film, but it contains one of her best performances, in a role that challenges her more than any other.

Basically, The Gunman is a movie that asks audiences to sympathize with the equivalent of Lee Harvey Oswald — that is, an Oswald who definitely did it. Oddly enough, it succeeds, partly because the moral climate it presents seems so confused, but mainly because of Penn’s particular aura of irascible integrity. He’s the most irritated action hero since Harrison Ford.

Insurgent would be a much worse movie if the good parts were all at the beginning. But they are saved for the end, and they leave the viewer with a feeling of, “Well, that was OK,” even though most of it wasn’t.

As a call to action, The Hunting Ground truly goes to bat for rape survivors. As a documentary, the movie as a whole is much lesser than its individual parts.

Magician is worth seeing as a kind of curated tour through the movies and through Welles’ interviews. However, if you have more time and want to get into Welles on your own, an afternoon watching YouTube videos followed by a few evenings of watching his best movies might be even better.

When (and before) the end credits roll, you will probably feel a sense of outrage — and helplessness.

Futuro Beach is part of a welcome wave of European and South American films that center on gay characters, yet deal with universal themes and offer a certain sensibility that would please any art-house enthusiast.

The curious thing about this new Cinderella is that every old and familiar element is done beautifully.

After devising a sturdy frame for Neeson’s special brand of sorrowful mayhem, the filmmakers expertly fill in Run All Night with a series of charged action scenes, including a rare one in which Neeson chases after a cop car, instead of the other way around.

The movie rarely, if ever, feels mechanical. Instead, you may find yourself marveling at the fertility of an imagination that could allow itself to toss so many vivid characters and stories—enough to supply four or five movies — into one generous package.

For the most part, good food and good cheer are the order of the day here, and the chatty, old-school Ziggy serves as a reliable — and touching — tour guide.

Though Carolla and co-filmmaker Kevin Hench devise some funny situations — particularly, the one in which a newly divorced woman insists on coming back to his room — the overall feeling that comes across is one of sadness, and that seems intentional.

The Salvation is one of those movies that deservedly (and desperately) requires a do-over. Unfortunately, what you see is what you get.

I would gladly see the movie again, if just to see Smith do her trademark grumpy English thing.

This is just a slightly better than mediocre film with a disconcerting grasp of the truth.