What a gift Zeitlin has with children. He showed that special skill with “Beasts,” but does even more so here, with the kid ensemble being full of personality and entirely unrestrained. The freedom and unbridled joy they find on the island are infectious, like their movie.

The idea of combining creature-feature invisibility with domestic-abuse gaslighting — playing with someone’s reality to make them think they’re going insane — is inspired. This middling horror film, regrettably, is not.

Premature doesn’t break much new ground. But it sure breaks hearts.

You never believe Buck is the genuine article, so moments of danger and even cute mannerisms don’t land. Even the best-trained contestant at Westminster has some unpredictability.

Using autism as a plot device walks a fine line between empathetic and exploitative, and The Night Clerk is wobbly in that respect.

The intriguing story behind Seberg and the always-interesting Kristen Stewart promised greatness. But this biopic squanders both; it’s a bland period piece with an irritating lack of focus.

De Wilde has a good grasp of Austen’s sense of humor, and she plays it up with some amusing bits

Watching The Photograph is like looking through a friend’s old photo album — it’s not as exciting as your friend thinks it is.

Thanks largely to the feisty Deutch, Buffaloed is a fun time, even if it’s about everybody’s least-favorite kind of phone call.

On the whole, the pairing of these two comedy titans is forgettable and slow as an ice age. To put it in skiing parlance: Downhill is pizza-ing when it needs to french-fry.

If the title makes you wince, know the movie is a lot better than it deserves to be. You’ll actually care about what happens to the prickly blue dude, even if you never cared about getting to zone seven.

Wood, like fellow mega-franchise star Daniel Radcliffe, has found a comfy home in indie films. And he has the perfect presence for this one, in particular.

Birds of Prey moves at a breakneck pace with a dry, totally unsentimental sense of humor, and it never gets caught up in cliched morals or weighty lessons.

Keough is riveting as the vulnerable Grace.

Never seen, but often heard bellowing profanities from the other end of Jane’s desktop landline, the boss and his eyebrow-raising closed door meetings dubbed “personals” provide the menacing undertone of this day-in-the-life drama.

Take away the shaky cam, the indie-film sheen, the “brave” close-ups of Lively looking wretched, and what’s left has all the depth of a 1970s B movie.

Color Out of Space is full-bore, glorious B-movie Cage: Cranked up to 11, spattered with gore and bellowing about alpacas.

The newest “Dragon” adventure, once again written and directed by Dean DeBlois, achieves real visual artistry.

But like he seems to do with every project these days, Grant runs away with the movie.

Writer-director Todd Robinson is the victim of his own noble intentions, turning each and every moment into an ice bucket of sentiment.

The plot isn’t really, but who cares? Think of Bad Boys for Life as a Pennsylvania highway store: full of explosives and fun.

Though most foreign films are best seen subtitled, the nonstop overexcitement of these anime performances can be exhausting. I’d have welcomed the dulcet tones of Pace, who voices Mr. Suga.

Heck, between this and “Cats,” maybe Universal is now just specializing in confounding talking-animal movies. At least this one leaves you feeling kindly toward other species, rather than freaked out by them.

There is a strong emotional connection to Victor Hugo’s giant novel, which has been turned into a Broadway musical, movies and TV shows. This version remains a tale of downtrodden Parisians and dogged policemen who hound them. Only now we get 21st-century twists: teens with drone cameras, members of the Muslim Brotherhood and a Romani circus.

Thankfully, director Miguel Arteta (“Beatriz at Dinner”) gets a solid half-hour of funny out of this thing before clunkiness sets in.

For connoisseurs of the “Grudge” series, the brief prelude of this fourth installation links it to the ones that came before. Everybody else, good luck making that connection.

Clemency is remarkable for the understanding it affords to all involved with its wrenching subject matter.

Please wipe this movie from my “Memory.”