All the performances are terrific and lend the film a vérité so keen it may leave you as uncomfortable as the titular outcast.

That face-off between two comics legends becomes but one in a series of big things bashing into other big things, which is what Snyder and writers Chris Terrio and David S. Goyer mistake for storytelling. The trio do manage to cough up an acceptable number of ooh-that’s-cool moments, and fans who will be satisfied with those will be satisfied with those, but any other ideas and characters the movie might offer get lost in the rubble.

The raunchy awfulness of The Brothers Grimsby is overwhelmed by a constant flow of chuckles, guffaws and flat-out belly laughs it elicits throughout.

My Golden Days is lovely and thoughtful, yet it has elements of a thriller, too.

Unsettling and bizarrely humorous, The Clan is the sort of film that ups the ante of any movie that dares open with those dreaded five words: “Based on a true story.”

It’s sweet, just like the original movie. It was faint praise then, and it still is.

The film offers one or two surprises. And when its humor lands, Rauch ensures that it sticks.

The film’s real power comes from Garner, whose solid, memorable work anchors everything around her.

Mirren, as ever, is both polite and brusque, her petite va-va-voomness never undermining her credibility as a tough military top-ranker. And Rickman — oh, that dryly sarcastic voice.

Midnight Special goes off its own narrative cliff, capping a compelling story with a third-act resolution so misguided that’s it’s the dramatic equivalent of punching the gas and plunging into the abyss.

Filmed in five long 35mm takes, this murder mystery features a fair amount of cinematic virtuosity, but it’s too self-conscious and uneven to be entirely successful.

Young Messiah is more quiet than action-driven, more sober than fantastical (that slinky Satan notwithstanding), and more dull than poetic.

Field uses her considerable powers as an actress to imbue some humanity into Doris, but the film kneecaps her efforts at every turn.

It doggedly follows the well-worn rom-com path, down to saving all the personality and occasional laughs – very, very occasional ones – for the supporting cast.

Even if this material might have been better served as a 40-minute short than as a full-length movie, first-time feature director Dan Trachtenberg has cast a trio of actors at the top of their game, and they elevate the material.

Director Laura Gabbert pairs her wide-ranging, blithely fawning approach to Gold with a vision of Los Angeles as blinkered as it is tempting.

Iranian-born director Babak Najafi (“Sebbe”) and the four credited screenwriters... make things move fast enough to keep you awake, but not fast enough to finesse its plot absurdities past an alert viewer’s mind.

“Allegiant” ends up feeling like a mid-season climax to serialized TV drama. The pieces are in play, the wheels in motion. Stay tuned, loyal viewers, and you’ll get your answers next year.

It’s the movie equivalent of a multi-course banquet of colorful foams: wisps of flavor emerge here and there, and admiration reigns, but in the end you’re unlikely to believe you’ve actually had a meal.

The acting is universally excellent, particularly Fey, who’s shrewdly fulfilling our expectations while playing off them.

The filmmakers are more concerned with shock-cuts, loud bangs, and creating Indian characters that are either servants or monsters, than with pushing the genre forward into satisfyingly visceral or psychological territory.

Gods of Egypt might have merited a so-bad-it’s-good schadenfreude fanbase had it maintained the unintentional laughs of its first 10 minutes. Instead, it skids into dullness, thus negating the camp classic that it so often verges on becoming.

Unlike the first half, which felt like a fresh look at Biblical events from an unfamiliar POV, the latter section simply recreates the end of the Gospel of Matthew with little of the urgency or humanity that fueled it before.

The Jesse Owens to cheer on here is, sure, the fastest man in the world, but also the canny would-be celebrity who knew exactly how to bet on himself in a world that had little use for his dignity and intellect. If that’s not an inspirational story, I don’t know what is.

A howlingly inane movie that somehow managed to collect an impressively A-list cast on its way toward becoming a cop movie that’s not just dumb, it’s disastrous.

Writer-director Tobias Lindholm knows how to keep a human perspective in his storytelling, no matter how outsized the drama or the dilemmas facing his characters.

This is the kind of serious horror movie that will live in your head for days afterward, like a bad dream that’s difficult to shake.

Thankfully the creators of this expansive adventure, a crime-solving saga starring a bunny who wants to be a cop, have a bit more in mind than the usual strains of aww-dorable humor and frenetic action.