Stuffed with touristy images but not enough dramatic substance to make any of them count.

Pali Road — an engrossing psychological thriller with a trapped damsel’s very sanity on the line — demonstrates how an enigmatic story can unabashedly overflow with disorienting puzzles and perverse twists, all for the sake of blurring the line between reality and illusion.

Though Dough is often in danger of running off the rails with improbable and unnecessary plot twists, it is always essentially entertaining and warm in its observations of hope rekindled through simple relationships.

There is fragility in the beauty we see. The picture drives home the need to safeguard it. It is, after all, our home.

Sing Street reminds us of being young and lost in a song, realizing with a jolt that someone else had the same feelings we did.

We don’t even see that much of Cuba. Most of the action takes place at Hemingway’s estate there — the actual house, a vanilla-ice-cream-colored mansion (now a Hemingway museum), which gives a restrained, elegant performance. Pity the rest of the movie doesn’t rise to its standard.

Screeching, screaming, bouncing around the galaxy. Insufferable. And seemingly interminable.

Key and Peele’s fast-talking chemistry, as they shift their language instantly from suburbanite to street (a theme in many of their sketches), make Clarence and Rell’s transformation into bellowing, gun-wielding tough guys and back again feel fresh and often very funny.

It’s a lazy movie that fades from memory the instant the credits start to roll; a blandly pretty cog in a studio wheel. Moms deserve better. So do moviegoers.

Achingly sad and dismayingly familiar.

Sachs’ A Space Program is a disarmingly delightful out-of-this-world trip.

The results are uneven. Almost any scene with Hawkes is alive and satisfyingly showy. You feel his absence when he isn’t there, though Joanna Cassidy, Crystal Reed and Robert Forster all have their moments.

Criminal has a strong supporting cast, but the big names aren’t doing much beyond the bare minimum to qualify for a payday.

For the most part, the movie finds a family-friendly balance between stunning scenery, hold-your-breath action and animals having goofy conversations with each other.

The script’s first half is vigorous enough.... But the movie needs the audacity of a “Trainspotting” to lift it above the norm.

It’s a film that effectively combines two distinct — and very different — pleasures.

What rescues “Diaries” and its grimy, cracked-glass look is its firm grip on Stephen’s incremental awareness that he and his misery are not the center of the universe.

The picture’s time shifts are smoothly handled by Kwak. But eventually confusion sets in.

Sky, despite its Hitchcockian beginning, is no thriller; instead, it’s a character study of a woman seeking a second act, and of a landscape that gradually transforms from foreign to welcoming.

It has its value as a vigorous variation on a theme.

The problem with Miles Ahead isn’t the playful, broad license it takes with Davis’ story, but that it’s so silly.

Much of this is funny, some of it is scary and a lot of it is as twisty as a mystery thriller. Very little of it, thanks to a superb cast, is predictable.

Green Room is one nasty piece of work. And I mean that in a good way.

This stranger-in-a-strange-land mood piece has an appealingly serene pace.

The Huntsman is a flabby mess — yet another sequel with no reason to exist.

There’s much pleasure to be had in Elvis & Nixon from its two lead performances.

Frot’s performance, as a woman so caught up in the joy of music that she doesn’t quite understand how bad she is, is particularly delightful, and often quite moving.

Blending archival footage, actor re-creation and special effects (sometimes all in the same shot), [Sokurov] creates a sense of specific place and time — and, in doing so, crafts a sort of cinematic ode to art.