Despite the general bloat, The Last 49 Days has its share of little pleasures.

While Hope Springs Eternal lacks the depth and pathos of such similarly themed films as Me and Earl and the Dying Girl, it delivers its relevant message with a refreshing breeziness.

To say that The Package is one continuous dirty joke with an outrageously absurd premise wouldn’t be an exaggeration. It’s also a funny, sweet, raucous teen comedy that’s by turns ridiculous and raunchy, but thankfully never too profound.

The main problem is that the storyline becomes so convoluted that it doesn't live up to the intriguing setup. Most of the film's second half is consumed by plodding exposition that is not exactly handled in imaginative fashion.

The film succeeds at being both exciting and character-driven, but only after a confused first half that will leave international viewers frustrated over who’s who and what’s going on.

It's both a relief and a pleasure to report that this high-gloss rom-com — based on the bestselling novel of a Singaporean author, directed by an Asian-American and featuring an all-Asian cast — is such a thoroughly captivating exploration of the rarefied question of whether true love can conquer head-spinning wealth.

Blandly internationalized, generically derivative, drained of any personality, edited as if by computer and bleached of the slightest hint of emotion other than a holiday card-like sympathy for children and allegedly cute animals, The Meg is a one hundred percent inorganic meal, something made from pre-tasted and then regurgitated ingredients.

For undemanding audiences not looking for too much substance in the summer's dog days, Dog Days should go down relatively easy.

Despite the professionalism of the acting talent, Like Father feels distressingly retrograde.

Christopher's lengthy two-hander scenes with Pooh quickly wear out their welcome; what at first is agreeably amusing shortly becomes grating, then just tedious.

The filmmaking and performances are so amateurish that any possibility of even the guiltiest of pleasures are quickly erased.

Cocote tells a relatively simple story in willfully obscure, opaque fashion. While the film features many intriguing elements and often proves visually stunning, it ultimately feels a trial to endure.

This kind of film wouldn’t stand a chance if the actors weren’t believable but Garcia (who starred in El Amparo, which Cordova edited) and non-professional Reyes are both understated but utterly authentic.

Only in its final moments do things crystallize with a nasty, half-ironic commentary.

The emotional moments that push her life in new directions must be colored in by the audience. Though that never feels like much of an intellectual challenge, and the 127-minute film is in no hurry to paint its picture, something about Milla's ordinariness makes her worth getting to know.

Set in a cartoonishly seedy version of California's Inland Empire, this lowlife tale of bikers and reality-show politicians diverts without quite justifying its presence as a feature, though many fans of both artists will be pleased with what appears to be a happy collaboration.

Beyond celebrating the music, 40 Years in the Making: The Magic Music Movie has something to say about the compromises and reconciliations that are a part of aging, and it turns out to make for a stirring and healing reunion.

For all of its incendiary arguments, Death of a Nation is ultimately tedious and repetitive. No one expects, of course, that D'Souza would make a thoughtful, balanced or historically accurate documentary. But is it unreasonable to hope that he make one that doesn't bore the pants off us?

It's a derivative bore, all popped collars, douchey bros and hand-me-down psychology, that gets its characters up to their necks in borrowed money just long enough to have it really hurt when the accounts run dry.

Young moviegoers who haven't yet tired of cookie-cutter dystopias will find a sympathetic protagonist played by Amandla Stenberg; but viewers who've taken this ride enough times to want, for instance, subtext addressing real-world oppression should look elsewhere.

Lensed with great sensitivity and style and superbly acted, it has one drawback for Western audiences in its perplexing plot points based on the local culture and customs.

It's been made with genuine feeling and smooth professional craftsmanship.

Good-naturedly gruff, unabashedly resourceful and proudly Australian, Occupation gets the job done with a minimum of fuss and an abundance of explosive set pieces that will likely endear it to domestic fans, even if it’s mostly forgettable otherwise.

Arguably, the film's hard turn into Scaresville taints what has made it appealing up to this point — and certainly, a tease in its final shot is a cheap gesture toward a possible sequel. But what comes before benefits from the cast's solid familial chemistry and an unhurried approach to the question: Should we want to talk to loved ones who've died, or leave them (and ourselves) in peace?

The first hour is the strongest, graced as it is by Estiano's nuanced performance as a conventional-seeming young woman who gradually and very sympathetically reveals her inner self after welcoming Clara into her life.

McKinnon dives head-first into every imbecilic scene, and Kunis stoically pretends to believe her BFF is sentient. But the movie around them is a wreck, and no amount of cloak-and-dagger will keep that secret for long.

14 Cameras is another pointless exercise that equates sliminess with terror. The film is creepy, all right, but not in a way that proves remotely edifying.

Displaying an amateurishness that undercuts even its more promising elements, Hell Mountain is the sort of instantly forgettable cheapie effort that has become all too prevalent in movie theaters and VOD listings. This one is for hard-core horror movie completists only.