Although mostly routine, Pet Sematary is intermittently scary.

Ultimately Unicorn Store shows little appeal beyond, perhaps, a young-adult audience with a very high tolerance for glitter.

As actor pairings go, you couldn’t hope for better than Oscar winner Sam Rockwell and nominee Taraji P. Henson. So why is The Best of Enemies such a slog?

With hero flicks getting as weighty and self-important as “The Handmaid’s Tale,” it’s a relief to watch one let its hair down. These gloomy films could use more exclamation points.

The film manages to be both hopeful and devastating — and recommended viewing for anyone who subscribes to the facile notion that abused women should “just leave.”

Those flight sequences — first suspenseful, then euphoric — take you back to the classic “Dumbo” as much as they do to classic Burton.

Meet Moondog — a movie character you’ll want to punch in the face.

The races of Trading Paint, however, are as exciting as a Ford Taurus trying to parallel park.

Us is more expansive and messier, a Rorschach blot of a movie, riffing on primal fears and a raft of ’80s references. Is it a pointed cultural take or just a gleeful scare-fest? It depends on what you choose to take from it.

It’s Schoenaerts, one of this generation’s finest actors, who makes The Mustang a moving look at human potential for redemption and rehabilitation.

The movie is smartly paced, and Sprouse (“Riverdale”) and Richardson make for one of the more adorable pairs in recent films. You not only want what’s best for them, but believe it can actually happen.

The drama is a crude blend of history and pulpy romance, with maudlin performances from the two leads.

If Wonder Park were a carnival attraction, it would be the merry-go-round. The animated movie has animals, relentless positivity and the most predictable journey ever. You must be no more than 4 feet tall to ride this one.

Salma Hayek, as their vengeful ex-boss Eva Torres, is fun to watch as she plots to outwit them time and again, but ultimately, there’s no one here to really care about.

There are some zippy chase scenes and shootouts, and tension throughout. But the characters — especially the lethargic Affleck — make for more of a C-Team than an A-Team.

Panahi, who defied a filmmaking ban from the Iranian government to make this, is a director always worth supporting.

There isn’t a moment of I’m Not Here that didn’t have me fervently wishing I wasn’t here.

Sebastián Lelio’s remake of his 2013 Chilean movie “Gloria” is, indeed, a glorious celebration of Julianne Moore at her peak.

What’s said to be Marvel’s most powerful superhero ever is served Melatonin by Larson. There is precious little texture or detail, ups and downs, or emotions of any kind in her performance. The character, even when kicking ass, is a total bore. Such as it is, the film’s best moments are provided by Jackson and a hilarious cat.

Both boys are good, and Kyle MacLachlan gives a tender turn as Franky’s gay dad. But the sheer amount of issues shoved in here is overpowering.

Moretz, meanwhile, acts like Little Red Riding Hood talking to her conspicuously hairy grandma — impossibly naive, and therefore dull and unbelievable. She’s a solid actress, but she shines best in indies or in parts with real edge. Greta is a camp-fest.

There are two things that make the flawed Mapplethorpe worth a watch: Matt Smith’s dedicated performance, and a reverent inclusion of so much of the artist’s work.

Apollo 11 is foremost a tale of technology and humanity. It’s about a country that needed a figurative lift, and got it with a literal one.

There’s also a broader commentary here on the treatment of women, both in arranged marriage and in testosterone-heavy thrillers. Apte’s character stays largely an enigma throughout, but her palpable frustration with the men and culture around her — plus the chance to vicariously visit Goa, that jewel of an Indian seaside getaway — makes The Wedding Guest worth an RSVP.

Although the film is about Paige’s unlikely rise to TV stardom, what grabs us most is the eclectic Knight family running a scrappy professional wrestling gym on a shoestring. It might be the biggest missed reality-TV show opportunity ever.

If you’re looking for a poverty-porn fix, Donnybrook ought to hit the spot. If not, you’ll likely find this a pointless exercise in gratuitous violence that imagines itself deep because it’s got an opera-heavy score.

By the end of this derivative, heartless mess, you’ll conclude that a garbage dump is exactly where writer-producer James Cameron’s new project belongs.

Instead of smarts, we get farts. The movie is packed with gross body and sex humor, reductive characters (the gay assistant, the boss who should be fired) and delusions of insight. And Henson’s likable performance is so overblown, it could be sponsored by Red Bull.