Director Matt Reeves takes over for “Dawn of the Planet of the Apes,” a sequel that maintains the themes of the original while placing a greater focus on action and spectacle. That type of shift has the potential to doom a franchise, but Reeves’ work is so good that he takes the series to new heights. “Dawn” is more exciting and action-packed than it’s predecessor, but it’s also exceedingly smart, and it features an Oscar-worthy, motion-capture performance by Andy Serkis. 

Pierce Brosnan was excellent in his brief stint as James Bond, a fact director Roger Donaldson (“Thirteen Days,” “The World’s Fastest Indian”) likely considered when bringing the English actor back to the spy genre. In “The November Man,” based on the Bill Granger novel “There Are No Spies,” Brosnan plays Peter Devereaux, a retired CIA agent lured back to action by his former boss, John Hanley (Bill Smitrovich).

When “21 Jump Street” hit theaters in 2012 it was a delightful surprise. The film – a comedic, big-screen re-imagining of the 1980s and early ’90s television series – was witty, unexpected and creative. It also marked the pleasant introduction of Jonah Hill and Channing Tatum as a comedy duo. With “22 Jump Street,” returning directors Phil Lord and Christopher Miller continue the fun, producing a movie with a likable plot.

Director Clint Eastwood’s film adaptation of the Tony Award-winning musical “Jersey Boys” is a delightful and beautifully crafted trip down memory lane. Like the Broadway show, Eastwood’s film recounts the history of Frankie Valli and the Four Seasons, often pausing so key players can address the audience and put their personal spin on events. The story of the Four Seasons is interesting because despite the band’s clean-cut image, the members grew up on the streets of New Jersey and – to varying degrees – had criminal ties. 

In truth, “Maleficent” is a winner no matter how one feels about “Sleeping Beauty.” A viewer could conceivably enjoy the film without even watching the original, but it’s definitely more fun for the acquainted. Familiarity with the cartoon allows viewers to contrast pre-existing impressions of Maleficent against those generated by the new picture, and that makes things interesting from an academic standpoint. 

The surprise 2013 hit “The Conjuring” reminded moviegoers that exorcism movies are still exciting when filmmakers take the time to invest in characters and build suspense. Unfortunately, most of the genre’s entries do little more than rehash tired horror clichés. “Deliver Us From Evil” tries to set itself apart with an unusual protagonist: a real-life New York City Police sergeant turned demonologist. 

“Earth to Echo” is no science-fiction classic, but it serves a purpose for the right, niche audience. The film, directed by Dave Green, is an ode to childhood, and it’s told from the perspective of a young filmmaker named Tuck (Brian “Astro” Bradley) who is chronicling the days before he and his two best friends will be forced to separate. Viewers are supposed to believe the characters shot the film, so it fits into the burgeoning found-footage genre. 

Nicholas Stoller’s work as a director has been on a steady decline since he helmed the surprising and wonderful 2008 comedy “Forgetting Sarah Marshall.” That film, written by star Jason Segel, was funny, original and anchored by great performances. For “Neighbors,” Stoller assembled another terrific cast, but the players are saddled with a schizophrenic screenplay that wants to be edgy yet refuses to take risks. 

As Peter swims through personal problems, his city faces a series of new threats, the most serious being an attack by Electro (Jamie Foxx), a supervillain capable of absorbing electricity and using it as a weapon. “Spider-Man 2” deliver’s Electro’s backstory while laying the groundwork for the appearance of two more Spidey villans: the Green Goblin (Dane DeHaan) and the Rhino (Paul Giamatti).