Wilson Chapman

The dimming prestige of the brand perhaps allowed Hoppers the freedom to be something much more modest, and also way more fun and satisfying — a hilarious, joke-a-second comedy that has its moments of sweetness and emotional resonance, but isn’t looking to force tears out of you.

It’s when the film mostly gets out of its own way and lets the men’s experiences do the work that Soul Patrol really shines.

Although most of Endless Cookie is cheerfully comedic, it also very much lives up to the “political” descriptor Seth aimed for in the opening.

Occasionally, Love + War does suffer from a sense of only skimming the surface of Addario’s life and complexity. . . But on its whole, it’s a smart, compelling documentary, one that sticks out by making its lead refreshingly, vulnerably human.

It’s one of the best films in the recent crop of anime TV expansions, and its bittersweet teen love story is certainly potent enough to make you cry.

Anyone who lives, breathes, and bleeds “Rocky Horror” will find comfort in “Strange Journey” and its celebration of the musical’s enduring legacy. Anybody else won’t find much to grab onto.

If there’s any issue with “Lost in the Jungle,” it might be that there’s too little of it. At 90 minutes, the film is quick and efficient, but it leaves little time to explore more about the collaboration between these two search parties, or the unsteady relationship between the region’s indigenous communities and the narco-guerrilla units ruling over them.

The detail, attention, and artistry of every pixel in frame is very evidently displayed. In many respects, watching “Ne Zha 2” feels akin to viewing the “Avatar” films, as the film provides a visual experience that’s the absolute peak of what its medium is capable of.

Just like the dog it’s about, Fixed has plenty of balls, but its big heart is what really matters.

Thankfully, Kpop Demon Hunters isn’t just a cynical attempt from Sony to cash in on a cultural trend: in the hands of directors Maggie Kang and Chris Appelhans, it’s a endearing, beautifully animated crowdpleaser, with a dorkily sincere love for the pop culture phenomena it embeds itself in.

The result isn’t as riveting as “I Am Not Your Negro” — it feels less personal and more generic, like a term paper someone could have written in undergrad. Still, Peck makes his points well, and accomplishes what he sets out to do by getting your blood pressure rising.

What makes Eagles of the Republic fascinating is how, even as it leaves the film world behind for more conventional political thriller trappings in its final act, it still ties the action to the struggles Fahmy undergoes as an actor and as a political mouthpiece.

The central premise of the friends’ dropping their high school relationships never takes off when the film has so little interest in fleshing those connections out even slightly, but it’s easy to root for the two of them to find happiness.

If the rest of the film does err towards the slightly generic, Howard gives Thelma the Unicorn a great lead that you’ll have no trouble rooting for.

To the extent that the ending works at all, it’s because of Froseth.

A fun but largely unnecessary fourth outing.