Mark Kennedy

The setting of a boat in the middle of the Coral Sea unlocks a delicious new home for terror.

Disney should have left the original alone.

Most impressive is that DeYoung has not created a collection of connected “SNL” skits. Each part cleverly feeds to another, with echoes throughout the script.

On Swift Horses belongs in the same category as other hushed ’50s-set same-sex romances, like Todd Haynes’ “Carol” or Luca Guadagnino’s “Queer.” But this adaptation hasn’t made the leap to the screen very well. Sometimes swift horses stumble.

The Jared Hess-directed action-adventure artfully straddles the line between delighting preteen gamers and keeping their parents awake.

A Working Man is exactly what you expect when you unleash Statham on a noble mission.

Green wobbles as he tries to land this plane and what had been an intriguing premise to talk about fame and the parasitic industries that live off it turns into a gross-out, run-for-it bloodfest and a plot that unravels. It becomes what it intended to satirize — a pop spectacle.

Director Julius Onah does well with the action but fumbles the quieter moments and supervises editing that’s the opposite of crisp, not helped by script writers who ape military language — “Negative, the package is the priority” — and grandiose sentiment — “The country is lost.”

No Other Land is a piece of resistance but also humanization.

Peter Hastings, director, screenwriter and animal voice of Dog Man, has had a hand in Pilkey’s much better adaption of “Captain Underpants,” but this time smashes together characters and plot lines from several of the books in a way that is hard to follow even for fans.

But no one emerges unscathed from this funny-when-it-shouldn’t-be mess. The movie’s slogan is the weird “Y’all Need a Pilot?” but it should be “Y’all Need a Filmmaker?”

Slack when it should be terrifying, “Wolf Man” suffers from cheap sentimentality, laughably obvious script reveals, poor continuity and a creature that is less predatory than painful. Pity comes to mind.

A Complete Unknown is utterly fascinating, capturing a moment in time when songs had weight, when they could move the culture — even if the singer who made them was as puzzling as a rolling stone.

Kraven the Hunter can climb sheer walls like a gorilla, snatch fish out of streams like a bear and outrun deer. But there’s something this slab of human beef can’t do: Anchor a decent movie.

Queer is best when it’s a character study of Lee, who in Craig’s hands is charming, selfish, arrogant, abrasive, foppish and sometimes unable to read a room. It’s a million miles from 007, even if Lee carries a pistol.

Joy is not all joy. There is frustration and loss and tears along the way, but it is a triumphant film about the way humans can make the world better and how a baby’s cry can be a priceless gift.

So beautifully constructed and acted in the first half is “Heretic” that you won’t really notice when it turns into a horror movie.

Here fails to connect all these centuries of human experiences, other than to celebrate the human experience in all its messiness, triumph and sadness.

Over two hours ends up being too long. But [Finn] has found a great satirical target, given life to a third film easily and showcased another rising star to watch. That’s a reason to, well, smile about.

It is deep and surreal and often adorable. Is it high concept or low? Like Williams, it’s a bit of both.

Is this the best animated movie of the year? Totally, so far. It might even be the best movie of the year.

The saddest thing about “Transformers One” is the wastefulness of another dull outing in a universe geared toward kids just learning to transform themselves.

Director-writer Megan Park has crafted a wistful coming-of-age tale using this comedic device for “My Old Ass” and the results are uneven even though she nails the landing.

It’s a triumph of small-budget, naturalistic filmmaking, where cars on a gravel road kick up choking clouds of dust and arm bones crack when pressure is applied.

In his attempt to give new life to the cult hero of comics and film, [Sanders has] given us plenty of beauty at the expense of depth or coherence.

But It Ends With Us doesn’t end quickly enough — more than two hours drag — with tangents and poor editing, like sudden scene cuts that leave viewers looking for clues to where they are.

This is a premise that could turn horrifically treacly or maudlin. But Greg Kwedar — who directs and co-writes with Clint Bentley — has a firm, no-nonsense but emotional hand, even if he uses a few too many razor wire-though-the-window shots.

“Axel F” is not exactly Murphy’s finest hour, either. But Murphy just saying “Jesus!” is funny. Let’s hope we don’t have to wait another 30 years for our next Axel Foley fix. God, we’ve missed him.