Fuqua is a proficient action director, and the boxing scenes deliver plenty of whomp. But the music-saturated scenes involving the media, the law and a turncoat friend played by Curtis (“50 Cent”) Jackson are trying to appeal to fans of “Empire,” not “Raging Bull.”

Long before you’ve gotten a nickel’s worth of entertainment out of this dumb, unfunny flick, you’ll be wishing for the flashing sign that says “Game over.”

This debut film is fun, and everyone involved can proudly declare, “Honey, I shrunk the Marvel Cinematic Universe.”

Amy Schumer is so scary-good in Trainwreck that it almost seems risky to speak her name.

Lovely to look at, and Vikander does nothing to derail her inevitable ascension to the A-list. But as a story, it evokes a word that no battlefield nurse would ever apply to her experiences: sterile.

This meta movie even has fun with faulty translations between French and English. To paraphrase Gemma as she conjugates verbs on the treadmill, “J’ai adorée.”

Minions is product, pure and simple. Little kids will love it, but grown-ups will feel like they’re being held hostage in a Fisher-Price test laboratory.

With stingy portions and plenty of filler, Magic Mike XXL is the worst sausage party ever.

This mash-up movie is like a greatest-hits collection for obsessive collectors. On its own terms, Terminator Genisys makes virtually no sense.

A must-see — and one of the best films of the year.

When the movie morphs from a story of mutual healing into a crime-fighting caper, it goes off track.

One man’s mirth is another man’s poison, this critic can only consult his belly as the barometer. On a gut level, Ted 2 is a funny film.

Dope is funny, slick and sharp.

In the end, children will enjoy Inside Out for the fun colors (each emotion is conveniently color-coded) and entertaining adventure, and will end the movie cheering. Grown-ups are more likely to watch with their own emotions on their sleeves and wind up sniffling.

Saint Laurent was a truly mythic figure. It’s a shame that Bonello’s film doesn’t do him justice.

The documentary Live from New York is a separate thing. It doesn’t try to be wild and crazy, and it can’t be comprehensive. Like a land shark, it’s an uncomfortable hybrid that bites off more than it can chew.

But even without world-class smarts or amusing mutations, the next generation of “Jurassic” is an enjoyable ride.

Love & Mercy is artfully but unobtrusively directed by Bill Pohlad.

With the overlong, limp and lazy Spy, Feig has lost his mojo.

On that vicarious-pleasure level, the movie version delivers. Yet for anyone with a sense of irony or social justice, it’s also frustratingly soft around the edges, with no real sense of the drugs-and-violence underside of show business or the spiritual cost of failure.

The setting and offbeat tone may remind some viewers of another recent comedy, but whereas “The Descendants” was a substantive meal, Aloha is a pu pu platter.

At once funny and poignant — and not just for moviegoers of a certain age.

Be forewarned: The 100-Year-Old Man is edgier than its title would lead you to believe. Bad guys are bludgeoned, blown up and even crushed by an elephant, and the two duffers take a lassez-faire attitude toward disposing of them.

The special effects and especially the 3-D are top-notch.

It doesn’t help that the characters caught up in this fact-based melodrama aren’t particularly engaging. Or that Téchiné doesn’t seem to have much of a feel for the material.

We need to have a dialogue about the wages of war in the remote-control era. But it’s hard to spark a good dialogue with movies whose dialogue is so bad.

Disney’s gimmick of naming movies for its theme-park attractions crashes and burns in Tomorrowland, a here-and-now caper that will confuse children, bore adults and offend anyone who’s ever taken a science class.

In the context of confounded expectations, director Maxime Giroux may have intended the what’s-next ending to be ironic.