It’s too bad that neither the philosophy nor the pyrotechnics on-screen in Chappie can distract you from your own sinking feeling that you’ve seen almost all of this before.

Unfinished Business isn’t a laugh-free experience — Nick Frost steals every scene as a business underling with a kinky side — and some of the comic set pieces actually work.

Breeziness is a quality Queen and Country has plenty of, making for a lovely journey that never ends up anywhere particularly groundbreaking.

The action is shot far better than it is in most Marvel movies, with clarity in the framing and a fluid skill to the cutting.

A timely, thorough and truly inspiring documentary about the financial and marketing imperatives that lead academic institutions to deny their students safety and justice.

The Lazarus Effect is a smart, unsubtle chiller that should leave even a dedicated horror fan shaken and spooked from its opening scene’s revelations to its final scene’s implications.

Like a perfect cocktail mixes the sour with the sweet and the bright with the boozy, Focus combines seamless, superbly-crafted filmmaking with the fizz and fun created by its leads.

Wild Tales represents the work of an exceedingly skillful storyteller.

Drunktown’s Finest shouldn’t be viewed simply as an anthropological curiosity, though, but as the promising debut of a gifted filmmaker who wants to show the beating and hurting hearts of the people behind the headlines.

There’s no doubt that The DUFF is clever, funny and quotable enough to become this decade’s “Mean Girls.” Watch your back, Regina George — there’s a new queen bee in town.

If the undemanding silliness of the first “Hot Tub Time Machine” was your cup of comedy, then you may well enjoy another plunge in these waters. Apart from a few laughs, however, I found the experience tepid and soggy.

Unrepentant, uneven and unique, Da Sweet Blood of Jesus proves that Lee can still make a film worthy of the arguments it will most certainly start.

At a brisk 86 minutes, What We Do in the Shadows never sags or drags, delivering its comic punches with surgical precision and then getting off the stage. Being immortal doesn’t mean you have to lose your sense of timing.

This switching-places comedy warmly and trenchantly sends up the telenovela genre’s swooning melodrama and oversexed-but-prudish contradictions.

Without that emotional groundwork to establish the contours of Cathy and Jamie’s relationship, “The Last Five Years” is largely a numbing experience.

Starring a vivacious Dakota Johnson and a game Jamie Dornan, Taylor-Johnson’s erotic romance is a skillful distillation of James’ first book that captures the heady exhilaration of being someone’s fixation.

Seventh Son tells a story of dragons, witches, ghosts and ogres, but the most fantastic thing about it is the idea that someone thought this lumpy, bumpy and swollen sack of tired tropes and cluttered CGI would attract audiences.

A feel-good movie that earns all those good feelings, McFarland, USA might be running on a predetermined track, but the heart it shows along the journey is what makes it a winner.

Delivering boredom when it promises mayhem, Wild Card is a bad bet that doesn’t pay off for either the film’s makers or its audience.

It comes across less like an actual documentary you would show to a curious audience than a good-job-everyone piece of internal documentation you’d screen at a company party or to potential outside investors.

A misguided attempt to spin a nightmare scenario into a cutesy rom-com premise, this British production takes place in a harrowingly claustrophobic world where personal growth ends at age 18, and you meet everyone you’ll ever become friends with in your whole life during high school.

Who cares if the story is occasionally impenetrable or if some gags land with a thud when the thrills and the eye candy keep coming at such a breathless pace? Jupiter Ascending doesn’t break the new ground that the Wachowskis have managed in the past...but the film never slacks in its efforts to wow us.

The jokes are consistently hilarious, with enough variety to tickle the funny bones of old salts and young fishies alike.

This silly chamber piece about sex and murder elicits only yawns, interrupted by the occasional unintentional giggle.

Save for a few standout scenes of carefree elation and daring camaraderie, Girlhood is largely a grim and stilted study of oppression.

Even with all the teen angst and temporal alterations, the film stays fleet, funny and fast, especially as our leads figure out, through trial and error, how they can take advantage of their new abilities in ways large and small.

The three lead performances cut through Dolan’s showier tendencies, creating relatable, empathetic characters; we share in their glimmer of optimism for a better future, making it all the more painful when reality comes crashing down.

A thoughtful and frequently moving drama that insightfully illuminates what it’s like to live with illness and agony at least as well as last year’s other Best Actress vehicles like “Wild,” “Still Alice,” and “Two Days, One Night” do.