For a while, the movie is like “National Lampoon’s Vacation” if Clark Griswold had secretly been Steven Seagal. Is it remotely “believable”? No. But “Nobody 2,” like “Nobody” before it, unfolds in its own weirdly grounded action-fantasy universe. Odenkirk has the ability to make behaving glumly fretful seem like a form of slyness; he’s really creating a conspiracy with the audience.

The “Neon Bull” director has always had an incredible visual sense, though his plots tend to lack focus. Not this one.

The filmmaking is at its most successful when it moves away from dialogue-driven sequences and into the more visual, visceral aspects of Nejma’s chosen line of work.

The duly playful, freeform result occasionally skirts preciousness but is mostly rather affecting, bound by a palpable sense of female friendship and a perceptive interest in the dynamics thereof.

Solving one mystery unexpectedly quickly before diving into deeper, more searching uncertainties of human behavior and relationships, the third feature from Singaporean writer-director Yeo Siew Hua gradually reveals a broken heart beneath its sleek, chilly veneer.

The bottom line is that none of these characters, after the swap, seem different enough from themselves to allow the comedy to detonate. That said, the double swap lends “Freakier Friday” a juggling-balls-in-the-air quality that gives off a pleasant hum. It’s fun to ride the film’s complications.

Regardless of how you feel about the ending (and many will happily embrace the movie’s darkly comic finale), Cregger has achieved something remarkable here, crafting a cruel and twisted bedtime story of the sort the Brothers Grimm might have spun.

It’s a densely textured, quite gorgeous dive into folkloric witchiness that avoids nearly all anticipated clichés, finally arriving at something not so much terrifying as unexpectedly poignant.

Ultimately, though, Before We Forget feels much too tidy (didactic, even) in how it unfolds for it to land the emotional gutpunch it so wants to deliver.

The movie doesn’t deal in labels — it’s not important to the filmmakers whether Luke identifies as gay, straight or bisexual — but instead presents this relationship as one that expands the provincial notion of romance someone like Luke might have had.

White’s bemused alpha authority carries the day. And this uneven, sometimes sloppy vehicle gets a real boost from Method Man. He lends his wannabe-main-character sidekick moments of comedic invention that make him MVP here, much as he was in the very different “Bad Shabbos” a couple months ago.

Rowland ratchets up the suspense with cunning and confidence, advancing the narrative and introducing secondary characters with suitable swiftness and meticulous precision that never call undue attention to themselves.

What should be a tender, feminist-minded story centered on a young woman rediscovering her dormant childhood dreamer turns into a middling melodrama about being with a cute guy in desperate need of her rescue.

When it comes to customer satisfaction, does Amazon’s refund policy apply to stuff like this?

The Naked Gun has enough honest laughs to get by.

Davidson shows he may not have the chops to carry a horror film, while DeMonaco fails to deliver any thrills this time. Ultimately, it’s a by-the-numbers effort that proves quite disappointing.

Happy Gilmore 2 is a happy orgy of raucously well-executed Adam Sandler fan service. It’s a pointed exercise in nostalgia, but with a present-tense edge. It’s not some fake update of the clever/dumb brand of slob comedy that made Sandler a superstar in the ’90s. It’s the genuine article, a true revival of Sandler’s Jerry Lewis-meets-rock ‘n’ roll rage. A sequel to his fabled 1996 golf comedy, it extends that movie’s anarchy-on-the-putting-green spirit as blithely as if the original had been made yesterday.

If you let yourself get on that wavelength of frisky innocence, The Bad Guys 2 exerts a wholesome and slightly mischievous appeal.

Duplass is careful to make a film where it’s up to the people involved to make Christmas a special occasion, rather than any relying on the genre’s traditional trappings. In that regard, The Baltimorons has something to celebrate.

True to its subtitle, the film feels like a fresh start. And like this summer’s blockbuster “Superman” reboot over at DC, that could be just what it takes to win back audiences suffering from superhero exhaustion.

“Smurfs” might be the best of the Smurfs films. It’s an amiable diversion for kids.

Annapurna Sriram manages to succeed in delivering a singular vision in all aspects of filmmaking, though not without its influences.

Nearly every scene plays a bit too long. The characters keep at it until they exhaust the situation and whatever jokes it brings, to the point it stops being funny and starts to grow tiresome.

Guns & Moses can be accused of implausibility, tonal missteps and sporadic heavy-handedness — but you can’t say it lacks chutzpah.

Theirs is an outwardly simple life made complex with yearnings, resentments and impossible dreams: equally mythic and mundane, as presented in Miro Remo‘s wonderfully sui generis portrait Better Go Mad in the Wild.

I appreciated that Robinson was actually trying to make a real movie out of all this. Yet it’s not a real movie. It’s a concoction impersonating one.

The movie is a real-world thriller that’s also a riveting character study that’s also a portrait of the place where the reactionary politics of today curdles into obsession.

Heady almost to a fault, Daniela Forever is all concept, all the time. Vigalondo’s screenplay is much too schematic and analytical for its own good.