More of a snack than a fulfilling meal, Good Posture is too scattershot to make good on the full potential of its protagonist.

The UglyDolls film makes the most obvious choice at every conceivable opportunity, and is all the more tolerable for that.

The way that the film resolves — or doesn’t — leaves the distinct impression that Waltz simply ran out of interest in this story, which would be an explanation as understandable as it is frustrating.

No matter its oddball turns, Kiwi director Ant Timpson’s wild, unpredictable debut manages to deliver a gory hilarious father-son reunion saga with a surprising degree of confidence in the silly-strange nature of the material.

Not since Klaus Kinski has Herzog aimed his camera at such an uncontrollable subject, and that includes the erupting peaks of “Into the Volcano” and the radioactive crocodiles in “The Cave of Forgotten Dreams.”

The results are fascinating, weird, and often quite moving.

Body at Brighton Rock is the happy work of someone who misses when scrappy genre fare could have low stakes and still feel slightly dangerous; when filmmakers were empowered by the knowledge that a VHS of their schlock took up just as much real estate on video store shelves as a tape of the biggest Hollywood blockbuster.

As Endgame sputters to the finish line, it leaves the impression of witnessing a Marvel Movie Marathon compressed to three hours — and 58 seconds, but trust me, they’re disposable — of unbridled fan service.

Even at its most serious, Okko’s Inn is calibrated for the attention span of a five-year-old; as mature and abstract as the lessons its protagonist learns might be, there’s no use making an uncommonly honest kids movie about death if kids aren’t interested in (or able to) sit through it.

A strange, bifurcated tale of love and espionage, with Judi Dench stuck in a thankless role that does nothing to capitalize on her talents. The film is worse for it.

The wit of Robinson’s series still occasionally peeks out in Someone Great, especially when her central trio are interacting, but smushed into a 92-minute running time, little of the best bits can actually breathe.

The best thing you can say about Stockholm is that it’s good enough to prove that a much better film could be made from this story.

With Penguins, frequent Disneynature filmmaker Alastair Fothergill and franchise newbie Jeff Wilson are working in a more minor key than such essential entries as Chimpanzee and African Cats, but the artistry and relative magic of the series is still on full display.

Perhaps it’s appropriate that the 2019 version of Hellboy is busy to an exhausting degree, overloaded with apocalyptic fears, and seemingly endless in its pileup of twists. But it’s hard to read much into a movie less invested in shrewd observations than in stuffing as much lore as possible into 120 minutes.

Whenever things seem really dire, Martin saunters in with attitude to spare, and puts everything in perspective. With talent that big, the rest of the movie seems little by comparison.

There are bigger questions to ask here, but when it’s easier to roll out some simple images and wrapped-up answers, Breakthrough breaks down, happy to just explain away everything good as a divine act that no one could possibly control. Movies, however, require a bit more than just faith.

The Haunting of Sharon Tate resolves as a cheap revenge fantasy that suggests its subjects only died because they couldn’t see the writing on the wall.

Robin Bissell’s The Best of Enemies may not be some kind of game-changing corrective to all the retrograde films about race in America (we’re talking about an uplifting historical biopic directed by the executive producer of “Seabiscuit”), but this sturdy drama has the good sense to recognize that allyship is only valuable when it’s hard. When it’s a sacrifice. When it forces white people to put some of their own skin in the game.

Missing Link is a sweet, touching, and seriously fun adventure comedy about two lost souls who are struggling to reconcile yesterday with tomorrow in their bid to belong in a world that refuses to make room for them.

From its title on down, Sauvage / Wild is a film that’s torn between different translations of the same basic principle — one soft and the other hard. There’s no judgement of him whatsoever, to the point where it sometimes feels like the character is more of a construct than he is a fully dimension person of flesh and blood.

This bitter and beautiful Sundance-winning doc focuses on a single beekeeper as though our collective future hinges on her hives.

While Moriarty’s novel functioned as a compelling story about two women from different backgrounds converging during a pivotal time in American history, Engler’s film turns much of its attention to Norma’s story, jettisoning the very best part of the film along the way.

Like many (or all) of the movies Burton has made this century, Dumbo is a shallow pop spectacle that’s forced to rely on its more superficial charms; unlike many (or all) of those other movies, this one actually has superficial charms on which to rely.

This heartfelt origin story is more than the sum of its immense charm and Spielbergian attention to detail.

Rock biopics often struggle with the part after the party’s over, but The Dirt becomes unusually adrift; at times, you can’t even tell what decade you’re supposed to be watching.

You’ll have to wait a while before Tigerland introduces its eponymous stars, but like many elements of Ross Kauffman’s emotional, often harrowing new documentary, the eventual reveal will be worth it.

The movie ... sometimes sags into a lethargic pace and unwieldy tangents. ... But there’s no doubting the presence of a focused, intelligent vision guiding the small-scale material along.

Too adult for kids, too childlike for adults, and too muddled for the motley lot of misfits and dreamers who just want to think different.