The blend of coming-of-age and coming-together in director Fernando Grostein Andrade’s film is a poignant one, regardless. The lessons Abe learns about life through Chico and his inventive cooking are made all the more beautiful by how tasty and colorful the food looks. And with Schnapp’s work in the title role, I found myself believing that a 12-year-old Brooklyn boy just might be able to solve the world’s thorniest conflict with an appetizer.

This bore fest is nearly two hours of sizzle-less romance and thudding dialogue, centered around the sort of obnoxious free spirit who’d start up an unwanted conversation with you at a bar

Garbus’ film is at its best when giving voice to the female relatives of these victims, who come together to pressure the cops — who’ve been instructed to downplay the possible connection between the killings — to do more.

Davidson expertly plays the role like he’s playing . . . well, Pete Davidson, which is how I imagine his career will go.

There simply aren’t enough synonyms for “loathsome” to do the new movie The Hunt justice. Perhaps if we expand into other languages. C’est détestable! È ripugnante!

Here’s what’s smart about director Gavin O’Connor’s film: Although a lot of movies about addiction fixate on the agonizing and physically punishing withdrawal process, this one doesn’t.

Here’s some perfectly mindless couch viewing.

Bennett, who’s been largely off the radar for a while, is heartbreaking and, eventually, fierce as her character begins to crave change.

The style and tone of writer-director Dan Scanlon’s movie has elements of DreamWorks’ “Shrek” and “How To Train Your Dragon” mixed with the siblings-with-secrets aspects of Disney’s “Frozen.” But Onward is better for the change-up. That stylistic and narrative departure gives us Pixar’s most heartfelt story in years.

Many modern teen issues are touched upon — depression, anxiety, eating disorders — and because of the honest performances from Smith and Fanning, you ache for them.

Coogan and Isla Fisher, as his friendly ex-wife, are well-cast, if too mean and fake. But their comic talents are wasted on Michael Winterbottom’s sorry attempt at a mockumentary. Actually, it’s a bit greedy.

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.