Octogenarian Clint Eastwood’s take on the Broadway musical about Frankie Valli and the Four Seasons, “Jersey Boys,” isn’t generating much love from America’s movie critics.

With a no-star cast, songs fifty years past their pop expiration date (Don’t give me “They’re timeless,” because I’m not buying it) and a director who has never had the patience to give himself or inexperienced actors enough takes to generate empathy or a “performance”, and you’ve got a film I say is Clint’s worst as a director and the Metacritic meter and Tomatometer have deemed unworthy, by consensus.

It’s a shockingly old-fashioned script, corny, cliched, packed with stereotypes. But there are folks who get into that.

Could it be America’s movie critics just aren’t old enough to “get it”? Only time you’ll ever see me type that.

Eastwood cast that great character actor and hoofer, the ageless and beloved Christopher Walken, and then cuts away from him in the closing song-and-dance finale. The last but not the least clumsy bit of botchery from a director who is going through the motions. This is an old man’s movie, an old man who was never an artist of the Hitchcock/Lean/Kubrick/Ford pantheon, guys who still did good work into their dotage.

And who is the audience for this thing? People who grew up on the Four Seasons stopped going to the movies, by and large, when Miss Daisy said goodbye to Hoke. Musicals fans? I sense no audience at all. Predictions are for a $12 million opening, which suggests the end of the line for Clint’s Warner Brothers director career. “American Sniper” follows, but this leaves a sour taste.

And Clint, HOW do you make a movie about Doo Wop and early pop rock and not have a single black face in scenes from that era? Spike Lee looked like an ignorant jackass for complaining about the lack of black Marines on Iwo Jima (there were none, pretty much). He could have a field day with this, even if it feels like kicking an old man to say so.

Kevin Hart’s “Think Like a Man Too,” the sequel to the battle of the sexes comedy based on a Steve Harvey book, will be a real test of the comic’s drawing power. A pandering, obvious Vegas comedy with all the Vegas ingredients, it will please audiences more than it did critics, who ripped it for its lack of laughs and greater lack of original laughs.

“Third Person” suggests Paul Haggis still writes scripts that lure in good actors and big names — Liam Neeson, Olivia Wilde, Mila Kunis, James Franco, and Oscar winners Kim Basinger and Adrien Brody are in the cast. But the director’s interlocking “Crash” story gimmick is played, which is why this goes into limited release. Haggis is working his way down the Hollywood studio food chain, in terms of distributors. Pity.

Roman Polanski’s “Venus in Fur” is a little like his adaptation of the play “Death and the Maiden” — claustrophobic, stagey (theatrical). He cast his wife as the vamp/actress who teases and tempts a playwright/director (Polanski look alike Mathieu Amalric). So the kinkiness stands out in this movie about a casting call for a play about the guy whose name was the source of the term “Masochism.” Quite good.

“Coherence” is a stagey bit of no-budget sci-fi that opens in a few theaters and pleased other critics more than it did me.

“Le Chef” is a slight French food comedy that is inferior to Jon Favreau’s “Chef” in most ways, but isn’t bad. Light as a souffle, cute and corny. Jean Reno stars in that one, which goes into limited release.