With characterization is a secondary consideration, the film is primarily concerned — and consumed — with its opulent (and admittedly eye-catching) production design and a flashy, hip-hop attitude that feels someone anachronistic amidst the Roaring Twenties’ surroundings but is right up Luhrmann’s alley.

Malick is clearly aiming for Deep Meaning here, but the film’s attempts at profundity and insight aren’t nearly as compelling as Lubezki’s cinematography. If you’ve seen Kurylenko dancing for joy once, you’ve seen it a dozen times — and, indeed, it almost seems as if there are.

The film’s title refers to the most lethal room in the haunted Overlook Hotel, while also recognizing one of the many changes Kubrick made in adapting Stephen King’s bestseller (in which the specific room was 217). In interviews over the years, King has acknowledged that the film version of The Shining.

There is, of course, a plot here — something about world domination (what else?) — and a couple of new archvillains in the Mandarin (Ben Kingsley), who’s something of a distaff Osama bin Laden, and Aldrich Killian (Guy Pearce), a quintessential mad scientist whose perfect hair and gleaming smile are a dead giveaway that he’s up to no good.

To this end, they hatch a scheme to abduct smarmy businessman Victor Kershaw (Tony Shalhoub) and milk his bank accounts while they torment and torture him.

The year is 2077 and Earth’s landscape has been decimated by an interplanetary war. With the surviving population now residing (unseen) offplanet, Cruise’s Jack Harper patrols the Earth (or what’s left of it) looking for signs of life and waiting for the day that he and wife/patrol partner Victoria (Andrea Riseborough) can join the rest of humanity.

Set in a not-too-distant future where celebrity worship has been taken to perhaps the ultimate extreme, one of the most popular pastimes is to purchase and be infected with viruses suffered by celebrities. (Antiviral is the sort of film you either go with or you don’t — and it begins with the concept.

Newcomers Tye Sheridan (his second film) and Jacob Lofland (his first) plays Ellis and Neckbone, a pair of pals drinking from the cup of adolescence. On a remote patch of island in the Mississippi River, they encounter the title character (Matthew McConaughey), a mysterious but charismatic figure in whom they confide, and he in them.

If nothing else, however, these remakes and spin-offs have added additional luster to their predecessors. Suddenly, the bad movies of yesteryear don’t seem so bad when compared to the bad movies of today..

The year is 1962, and Ginger is obsessed with the Cold War and the threat of nuclear annihilation (rest assured, the Cuban Missile Crisis does come into play).

The prelude to the film’s principal action is provided when Secret Service agent Mike Banning (Gerard Butler, also a producer) saves President Asher (Aaron Eckhart) but is unable to save the First Lady (Ashley Judd) in a calamitous car accident near Camp David.

The team of Burt Wonderstone (Steve Carell) and Anton Marvelton (Steve Buscemi) has been a staple of the Las Vegas strip for years, doing their magic show for audiences of all ages. But when hotshot magician Steve Gray (a customarily manic Jim Carrey) comes on the scene and steals their thunder, Burt is hard-pressed to top him.

Hard-bitten hit-man Victor (Colin Farrell) is blackmailed by neighbor Beatrice (Rapace) to kill the drunken driver who disfigured her in a car accident. Beatrice photographed Victor committing murder, and threatens him with the evidence. Why Victor doesn’t dispatch her right then and there is one of Dead Man Down’s.

James Franco, whose top hat and facial hair make him resemble Young Mr. Lincoln, plays Oscar (“Oz”), a circus magician in 1905 Kansas. More con-man than conjurer, Oz is whisked away to a magical land when he makes a quick getaway in a hot-air balloon that is immediately sucked into the eye of a tornado.

Keri Russell and Josh Hamilton play Lacey and Robert Barrett, an all-American couple living in an all-American suburb which their all- American kids Jesse (Dakota Goyo) and Sam (Kadan Rockett). Robert’s been out of work awhile, so there are rustlings of domestic discord within the household.

In what has become his signature role as New York cop John McClane, Willis is the wrong man at the wrong place at the wrong time. Yes, again. McClane’s in Russia this time around, which lends some  international flavor to the otherwise predictable proceedings.

This is the latest film from director Steven Soderbergh, who vows it will be his last for at least some time. He recently wrapped the HBO bio of Liberace  (starring Michael Douglas), and the prolific Soderbergh has averaged more than one film a year since his breakout debut sex, lies, and videotape.

At an age when most people are collecting a pension, the buff and brawny Stallone can still stir up considerable onscreen mayhem, and here he has the benefit of working with director Walter Hill (his first feature in far too long), likewise an experienced and expert hand at cultivating carnage.

This moral and ethical dilemma, well conveyed by Walken (who’s in especially good form), frequently takes a backseat to their hijinks, which include a visit to a friendly brothel (run by scene-stealer Lucy Punch) and Val’s accidental overdose of Viagra.

A clumsy and convoluted political potboiler,  the film stars Mark Wahlberg (also an executive producer) as Billy Taggart, excop-turned-private-eye and quintessential film-noir patsy.