Home Again has a certain charm and polish. It’s hard not to like people who are so … likable. But it’s also hard not to feel a constant sense of disconnect from these characters and their so-called “crises.”

[Kogonada] is a work of transcendent beauty, where words are key, but imagery even more profound.

Gun Shy is a loud bang signifying nothing, a tired and second-rate actioner — and an embarrassing resume entry for the likes of Antonio Banderas (“Desperado,” “Once Upon a Time in Mexico”) and Olga Kurylenko (“Oblivion,” “Quantum of Solace”).

IT...carried me along from the opening frame, rarely missing a beat.

Yes, it is a movie. But just barely so. I’d say it’s more like an excruciating, embarrassing, profoundly unfunny, poorly shot and astonishingly tone-deaf screech-fest featuring some of the least charismatic performances this side of one of those dreadful “reality” shows.

Unlocked has the DNA of many a 21st century late summer release: It’s a well-made but terribly uneven film that’s been sitting on a shelf for two years, despite the credentials of the veteran director and a star-studded cast.

What could have been a great B-movie winds up being merely solid.

Overall it’s a lovely and refreshingly breezy adventure with an adorably plucky lead, an infectious soundtrack and arresting visuals.

Marjorie Prime sounds like the title of a British miniseries, but is in fact one of the strangest, most disturbing and most thought-provoking films of 2017.

Aubrey Plaza is a sensation as Ingrid, who is alternately charming and sad and pathetic and absolutely insane. Plaza has a unique and magnetic screen presence that creates great empathy, even when she’s portraying a mostly off-putting character.

Good Time is a hallucinatory and often gripping one-night stand of mishaps, mayhem and madness. Ultimately, though, the sometimes clever story runs out of steam and limps across the finish line, and the in-your-face characters and camerawork, not to mention the in-your-ears score, left me not all that involved and a bit exhausted.

There’s nothing and no one to like in The Hitman’s Bodyguard. This is one loud, generic, forgettable late summer action flick.

Logan Lucky is great fun and one of the most purely entertaining movies of the year.

Macdonald is an absolute force as the twentysomething Patricia Dombrowski, who wakes up every morning determined and upbeat, even though her life path already looks to be a series of dead ends.

It’s a well-made film with strong performances, and it by no means shies away from some of the more shocking and tragic episodes from Jeannette’s upbringing. But when “The Glass Castle” reaches for late-movie moments of closure and self-revelations and forgiveness...it rings sour and false.

This is about the residents of Ferguson, who reacted to the killing of Michael Brown by galvanizing a movement on the streets of their town and via social media. They knew the whole world was watching, and they had seized the opportunity to tell their stories.

Writer-director Taylor Sheridan’s Wind River is a stark and beautiful and haunting 21st century Western thriller, filled with memorable visuals and poetic dialogue — and scenes of sudden, shocking, brutal violence.

Holland does fine work as the novice, but it’s Bernthal who owns the screen as The Mute, who will protect the relic and his brothers at all costs. It’s fiercely effective work.

"Brigsby” wins the day thanks in large part to the sharp and original screenplay, and the uniformly fine work from one of the more interesting casts of the year.

Directed in disjointed and sometimes unfocused fashion by Bonni Cohen and Jon Shenk, An Inconvenient Sequel: Truth to Power is nonetheless worth a viewing, if only for the continued, irrefutable, scientifically sound reminders that humankind continues to harm the planet in shocking and sobering ways.

As Karla turns into Super Mom, brushing off multiple car accidents and more than one attempt on her life, Kidnap provides some easy applause-getting moments but grows increasingly over-the-top.

The cinematography has a washed-out, dull tone. The special effects are mediocre. With a few exceptions, the dialogue is stilted and filled with expository passages so obviously intended to explain things to us, I half-expected characters to turn to the camera and say, “Here’s what you need to know so you can understand what’s happening.”

Without question, Broadway producer Amanda Lipitz’s brilliant feature film directorial debut is deeply moving and inspirational, but unlike most documentaries it also makes for very entertaining viewing.

Score is a straightforward film told in relatively broad strokes.

Landline is a very funny film about people dealing with very serious situations.

This is an astonishingly uninvolving and at times almost laughably melodramatic effort, marred by overwrought voice-over narration from Theron, a relentless barrage of scenes depicting horrific human suffering and a love story featuring one-dimensional characters we don’t particularly care about.

Punch kick stab shoot. Borrow from “Bourne” and Bond. Rinse and repeat. This is the recipe for the quite ridiculous, ultra-violent and deliriously entertaining Atomic Blonde.

An intimate, often heartbreaking chronicle.