And So It Goes plays a little like the graying lounge act it honors: It's impressive for its age, though not altogether impressive.

Scarlett Johansson is ideally cast as a rapidly evolving kick-ass hero in Lucy, a stylish action thriller that is equal parts dazzling and ludicrous.

Here has a great soundtrack and some fine performances, particularly from King, who is a wonder. And credit Braff with some great imagery, deep thinking and moments of eloquent dialogue, however schmaltzy.

With the lackluster quality of its characters — aircraft, a smattering of trucks, RVs and motorcycles — the movie makes Pixar's Cars and its sequel look like masterpieces.

Viewers seeking a fresh comedy, a seductive romp, or even just an escape from boredom for a couple hours will be left dismally unsatisfied by this stilted, nearly humorless, non-titillating slog.

The film is at its best when it focuses on the more specific conflicts of five people thrown together on Purge night.

A picture that isn't as terrible as its title suggests now as deep as its story aspires to be.

More than anything, the movie makes the viewer want to hop on a plane and visit Iceland.

One of the most extraordinary films in decades, this family drama is also one of the most ambitious in scope, having taken more than a decade to shoot. Yet it comes across as effortless and unassuming. Boyhood is an epic masterpiece that seems wholly unconcerned with trying to be one.

It's a provocative sci-fi action film with dynamite special effects, a powerful humanistic theme with echoes of real-life social conflicts, and a truly wondrous performance by Serkis.

Even horror neophytes won't be spooked by a film that looks as if it were shot with a smartphone and an Itty Bitty Booklight.

Where 1991's "Thelma & Louise" was funny and action-filled, Tammy's story is thin, cringe-inducing and, worst of all for a comedy, not funny. Jokes land with a thud and the pacing is leaden.

Earth to Echo is about adventure, bravery and excitement, but mostly it's about friendship— a subject that resonates with audiences of all ages.

Ruffalo and Knightley make an engaging pair of colleagues and their musical adventure together results in an enchanting, gently funny and occasionally poignant story.

A rare hybrid that perfectly blends the dazzle of a futuristic action thriller with the intellectual substance of an art film.

The film's most engaging character is not actually human: It's Manhattan, of course, a point made repeatedly over that protracted dinner by the voluble lovebirds.

Deafening, deadening and about two hours too long, Extinction would mark the weakest installment yet of the 7-year-old Hasbro franchise — if the previous three movies were discernible from one another.

Silly, unfunny and formulaic.

What was blandly charming on stage — characters addressing the audience, ultra-broad jokes and showbiz patter — feels contrived, cheesy and cliched onscreen.

Had Stanley Kubrick and David Lynch made a movie together, it might have looked something like The Signal.

The car chases are unremarkable, but the stunts — which comically juxtapose Tatum's athletic grace and Hill's stocky clumsiness — are a hoot.

Myers' sense of humor is interspersed throughout the engaging film, which consists of a host of wild stories, as well as vivid archival footage, talking heads and cleverly made re-enactments.

A thoughtful film about ideas — creativity, the power of language and the eloquence of visuals — it features two impeccable performances full of vitality.

The problem is the movie's comedians, who are, to the last, unfunny.

Cruise and Blunt have a measure of chemistry, however their characters go undeveloped, given short shrift amid the spectacle. But the pulse-pounding action scenes are briskly directed by Doug Liman.

The movie is well-written, well-acted, acerbic, funny and wisely observed. Fans of the book will be glad to hear it is faithful to Green's tale.

Night Moves is a thoughtful, clear-eyed and provocative film that raises thorny questions but doesn't offer easy answers.

A remake of a 2003 French Canadian movie, The Grand Seduction is more bland than grand and more eccentric than seductive.