Picnic at Hanging Rock (1975)

Peter Weir’s “Picnic at Hanging Rock” is a mystery with no answer. It’s 1900 Australia and a group of girls from an elite finishing school leave for a picnic at Hanging Rock, a chunk of mountain with a near-supernatural magnetism. It looms as a god, setting visitors in a daze. Watches stop. People sleep. Four girls wonder for no reason but curiosity. Three disappear, one returns panicked. The vanished girls drop the perfect façade of the school and town into hysteria, order and etiquette shattering. People don’t fear the girls’ deaths, they fear their “violation.” The unknown expands. Weir uses glowing cinematography and pan-flute music to portray the perfection that we all desire to build us for the fall. Life is unanswerable, we cannot escape it reciting poetry or meeting dinner time. The only innocent free girl throws herself to death. The grand head mistress (Rachel Roberts) loses her glory to reality, her fate leads back to that Rock. Honestly, “Picnic” is perfect, as defined as what we are not shown, by as what we are. It is art that cannot be explained or crunched into a few sentences, it must be seen. On repeat. Endlessly fascinating. A+

The Croods (2013)

In “The Croods,” Dreamworks’ sticks a Griswald-like family in the Stone Age, cave people still moping around with no fire and staring helpless as the land mass known as Pangaea breaks apart to form what we now recognize as Earth. (Try explaining this to your 4-year-old.) Plot: Ignorant dad (Nicolas Cage) is scared of all things new, while teen daughter Eep (Emma Stone) is ready to explore and push pop’s rules off a cliff. So, yes, it’s “Brave” B.C., with the inevitable scene where grumpy dad admits he’s wrong, and spunky kid is right. A genre staple as old as cave drawings, for sure. We’ll see it again. But even “Croods” cannot carry its story to the finish, switching midway from Eep’s perspective to the father’s. (It’s all so beware-climate-change liberal heavy-handed, even I blanched.) Much of the animation surprises, though: Prehistoric pets are imagined outside the box and will delight children and adults, and a gag involving early photography got this shutterbug laughing. The rest: Forgettable. C+

The Possession (2012)

A girl on the cusp on puberty is possessed by a demonic spirit and spills familial terror as her soul goes dark and her body gyrates in inhuman forms. Familiar? “The Possession” is another spawn of diminishing returns and scene-for-scene re-dos from “Exorcist,” the demon queen of spiritual horror. Here, the girl (Natasha Calis) happens upon an antique wooden box with Hebrew engravings at a yard sale. It calls to her, quite literally. Daddy (Jeffrey Dean Morgan) quickly obliges daughter’s purchase as he wants to soothe her woes as he and mom (Kyra Sedgwick) sign divorce papers. (If the real horror on screen is divorce then it is badly, badly handled.) Emily is taken hold by the box and starts to splinter, distant, silent, and prone to stabbing dad with a fork. All this leads to a finale involving exorcism and a man of God, here a rabbi rather than a priest. (Jewish reggae star Matisyahu plays the role, oddly tone deaf.) Every scene here was done better in 1973, save one: Morgan as the desperate father begs a room full of religious elders for help. One old crow coldly replies, “It is up to God.” That’s chilling. The rest… C+

Ginger and Rosa (2013)

In 1962 London BFF girls “Ginger and Rosa” (Elle Fanning of “Super 8” and newcomer Alice Englert) do that teen thing that many teens do: Piss on chores and curfew, dabble in romances, and smoke. They also strain under paranoia from the Cuban Missile Crisis and a far closer atomic bomb of the emotional kind involving Ginger’s anarchist dad and fragile mom (Alessandro Nivola and Christina Hendricks). Despite the obvious turn, I won’t spill details, but director/writer Sally Potter (“Orlando”) lights the fuse early. Porter has a beautiful-looking film here, picture-wise, and perfects the myriad details of teens from clothes to petty jealousies. But it’s also top heavy with too many Jiminy Crickets for Ginger. Annette Bening plays a leftist with no purpose in life but to dispel advise to our gal, and the same is true of Ginger’s gay godparents (Timothy Spall and Oliver Platt). More so, the only time a radio plays, it bears only doom and gloom like some Orsen Welles production. (TV, movies, nor newspapers figure at all.) All that said, Fanning is spectacular, a Yank going Brit on screen, and as flawlessly as Streep did Thatcher. B

Corvette Summer (1978)

Luke Skywalker’s Corvette gets stolen!?! Wait ’til his dad finds out! Cheesy joke? Yeah. But much of the car-and-a-girl adventure flick “Corvette Summer” is cheesy and often ridiculous, most of the latter unintentional. Hamill -– 27 and post disfiguring crash -– improbably plays an auto-shop geek teen who has never sipped booze or kissed a girl. (That Hamill constantly looks rocked is remarkably not remarked upon.) The story: Hamill’s Kenny’s shop car beauty –- bright red, right-seat drive, killer flares -– gets stolen and ferreted to Las Vegas, and our boy hitchhikes his way to get the car and rip the bad guys. Along the way he meets a naïve girl (Annie Potts) yearning to go pro ho, gets mugged, goes homeless, bounces jobs, gets laid, and -– yes! –- finds his car. In perfect Skywalker fashion, Hamill whimpers, moans, and hyperventilates through every act. I wished Ben Kenobi to swoop in, scream “Shut the fuck up!,” and cut Kenny down. Didn’t happen. “Corvette” must be a prank on the hot rod genre: Guys, cars are just shiny metal, chase after the girl! This cannot be serious. Hamill himself is the best gag, intentional or not. B

Spring Breakers (2013)

Harmony Korine’s purposefully delirious drama/horror/satire “Spring Breakers” is shocking, but not for any onscreen debauchery, but how bright and shiny, and dull it is, and how much it strives to be “Girls Gone Wild” meets “Natural Born Killers.” Circa 1994. The story: Four college girls (led by Disney princesses Vanessa Hudgens and Selena Gomez, plus Ashley Benson and Rachel Korine) head to Florida and plunge into binge drinking, drugs, sex acts, and scooter racing without helmets. When they land in jail, a redneck drug dealer (James Franco) “saves” and woos the group with guns, piano skills, and love of “Scarface.” After Gomez as a Christian named “Faith” (fancy that, eh?) bolts for home, the other three turn pink-masked gangbanger. Really. Korine spills ironic observations about youth obsessions with sex, gun culture, and celebrity, and our affinity to get bored, no matter where or what we are. But he’s working from a sketchy 30-page culture thesis triple spaced to 90, with scenes and sounds (guns!) repeated without end. Boiled down: Korine’s only real trick is getting two Mickey Mouse stars to go Mickey and Mallory for faux shock value. To break taboos? Or filmgoers’ patience? Franco, btw, is madly genius. C+