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This image released by Cinelou Films shows Jennifer Aniston, left, and Chris Messina in a scene from "Cake."  (AP Photo/Cinelou Films)

“Cake,” in which Jennifer Aniston plays a bitterly grieving, caustically acerbic and chronically pained Los Angeles woman, belongs to a contrived kind of low-budget movie — drab and depressed, but predictably poignant — just as artificial as any blockbuster convention.

In this image released by Lionsgate, Johnny Depp appears in a scene from "Mortdecai." (AP Photo/Lionsgate, David Appleby)

“Mortdecai” is based on the first in a series of irreverent comic novels by Kyril Bonfiglioli, a British author of Italian and Slovenian heritage. Published in the 1970s, the books chronicle the amoral antics of aristocratic British art dealer Lord Charlie Mortdecai (Depp), who is aided on his drink-sodden adventures by his thuggish but resourceful and sexually irresistible manservant Jock Strapp (Paul Bettany).

This photo released by Universal Pictures shows, Ryan Guzman, left, as Noah and Jennifer Lopez as Claire Peterson in a scene from the film, "The Boy Next Door." (AP Photo/Universal Pictures, Suzanne Hanover)

Set in an unidentified section of Southern California, the movie finds literature teacher Claire Peterson (Lopez) separated from her husband for almost a year but not quite ready to move on, however much her best friend/sassy vice principal (Kristin Chenoweth) urges her to do so.

HOLD FOR STORY - This photo released by Sony Pictures Entertainment, Inc. shows, Kevin Hart, center, as Jimmy, in a scene from Screen Gems' "The Wedding Ringer." (AP Photo/Sony Pictures Entertainment, Inc., Matt Kennedy)

Several films have indeed been there, done that — or variations of that — in the 12 years since, including “Bridesmaids” and “The Hangover,” which all but redefined the pre-marriage debauchery sub-genre.

This photo provided by Universal Pictures shows Chris Hemsworth, left, as Nicholas Hathaway in Legendary’s "Blackhat," from director/producer Michael Mann.  (AP Photo/Legendary Pictures - Universal Pictures, Frank Connor)

The malware’s fanning spread through the network recalls the stealthy swoop of the black-clad gangsters of Mann’s last movie, the John Dillinger thriller “Public Enemies,” as they sinuously flowed across the marble floor of a Midwestern bank. In “Blackhat,” Mann has returned to modern day for an especially timely tale of cyberterrorism, but his grim fascination with the poetry and choreography of violence is the same, even if it comes by pixels rather than pistols.

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