Artificiality as an aesthetic is all fine and good, but Love Hurts feels a little too much like the charmless, ripped-from-the-Magnolia-showroom homes that Marvin is hawking to perky yuppies around Milwaukee.

It’s a promising debut from Tøndel, nonetheless — a film that will keep you engaged if not entirely satisfied.

No Other Land is a piece of resistance but also humanization.

Like any good high-concept comedy, Kinda Pregnant is predominantly a far-fetched way for its star and co-writer, Schumer, to riff frankly on her chosen topic.

The combination works well enough, though it’d be fairer to deem “You’re Cordially Invited” a funnier-than-average wedding movie than it would be a top-grade Ferrell comedy.

Peter Hastings, director, screenwriter and animal voice of Dog Man, has had a hand in Pilkey’s much better adaption of “Captain Underpants,” but this time smashes together characters and plot lines from several of the books in a way that is hard to follow even for fans.

Kudos to Hancock for making the film crackle along wittily, drawing in even those of us prone to shudder at movies with a fast-rising body count.

But no one emerges unscathed from this funny-when-it-shouldn’t-be mess. The movie’s slogan is the weird “Y’all Need a Pilot?” but it should be “Y’all Need a Filmmaker?”

Kids movies so often bear little of the actual lived-in experience of growing up, but Yamada Naoko’s luminous anime “The Colors Within” gently reverberates with the doubts and yearnings of young life.

The camera is the ghost in Steven Soderbergh’s chillingly effective, experiential haunted house drama “Presence.”

The action comes fast and furious, and the banter is pleasant enough. Diaz, especially, makes the proceedings decently enjoyable and some of the sillier lines believable.

It is deeply personal and imbued with the kind of tenderness that is extremely difficult to see or appreciate in the moment.

For an actress who’s hustled to get to this point, “One of Them” days is perfect platform for Palmer, scrappy and unstoppable.

Slack when it should be terrifying, “Wolf Man” suffers from cheap sentimentality, laughably obvious script reveals, poor continuity and a creature that is less predatory than painful. Pity comes to mind.

“Let me entertain you,” Williams seems to be screaming through every scene. Mostly, he succeeds.

Hard Truths runs just 97 minutes, but it’s the kind of film and character that will stay with you long after — especially and most importantly when you find yourself having a Pansy kind of day.

A Complete Unknown is utterly fascinating, capturing a moment in time when songs had weight, when they could move the culture — even if the singer who made them was as puzzling as a rolling stone.

Morrison is a celebrated cinematographer known for “Black Panther,” “Fruitvale Station” and “Mudbound,” making her feature debut as a director. And it’s a promising one, full of beautiful shots, unexpected choices and rousing fights inside the ring, anchored by a thoughtful, engaging script and compelling lead performances.

Babygirl, which Reijn also wrote, is sometimes a bit much. (In one scene, Samuel feeds Romy saucers of milk while George Michael’s “Father Figure” blares.) But its two lead actors are never anything but completely magnetic.

Bring your hand warmers, toe warmers, heart warmers and soul warmers — this update of the 1922 silent vampire classic will chill you to the bone...But it may not terrify you. Everything in Robert Eggers’ faithful, even adoring remake, from his picturesque 19th century German town to those bleak mountain snowscapes leading to that (brrr) imposing castle in Transylvania, looks great. But with its stylized, often stilted dialogue and overly dramatic storytelling, it feels more like everyone is living in a quaint period painting rather than a world populated by real humans (and, well, vampires) made of flesh and, er, blood.

Though not for everyone, it’s a film that can justifiably be described as “epic” in ambition and design. And, wouldn’t you know, ambition and design are precisely what the movie’s about.

What absolutely, undoubtedly does work is Moore and Swinton together. If some of the more melodramatic or crime-movie flourishes feel forced, the central relationship of “The Room Next Door” is consistently provocative.

Mufasa: The Lion King has one very important thing going for it: an original story.

The threads do come together, but it requires a bit of patience and giving yourself over to the film, which is both formally and emotionally eye-opening. Adapting great literature can sometimes send filmmakers running towards the conventional; Thank goodness Ross charted his own path instead.

The film looks of its time, but it also feels fairly modern in its sensibilities which makes it always seem more like a re-telling than an in-the-moment experience. This may be to its detriment, yet it’s still an undeniably riveting and compelling watch.

Kraven the Hunter can climb sheer walls like a gorilla, snatch fish out of streams like a bear and outrun deer. But there’s something this slab of human beef can’t do: Anchor a decent movie.

The film, set 183 years before the events of “The Hobbit,” is a return to Middle-earth that, despite some very earnest storytelling, never supplies much of an answer as to why, exactly, it exists.

Of all the post-apocalyptic landscapes we’ve been treated to over the years, none is as beautiful nor peaceful as that of “Flow.”