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.”

Profoundly moving and, at times, almost unbearably sad.

Although director J.J. Abrams tries his darndest to finish the job, conjuring up nostalgia like a TV medium, “Rise” doesn’t feel like the last chapter of the biggest American movie franchise. It’s just another well-made “Star Wars” flick.

Like most of Eastwood’s work (with the exception of last year’s disastrous “The 15:17 to Paris”), it’s a tightly paced feature, with strong performances all around. It’s also one of the season’s most politically polarized films.

The addition of Glover and Danny DeVito keeps Jumanji: The Next Level afloat, even with barely the whisper of a plot.

What Bombshell has going for it is a jaunty pace. The film by Jay Roach — the “Austin Powers” director who’s had rotten luck with dramas — clips along and is always watchable. But it misguidedly mimics other annoying, ripped-from-the-headlines movies, such as “The Big Short” and “Vice,” that rely on Elvis-impersonator acting, smug narration and quick cuts. Sometimes, you just want to see a tough topic taken seriously.

The audio design of Little Joe is meant to be unsettling, but it may be for naught if audiences can hardly bear to sit through it.

Most damning of all, the dark mystery hinted at throughout is revealed so lazily it lands with zero impact. It’s long been clear that Cage has opted for quantity in his movie roles, but maybe a little quality control wouldn’t hurt.

“Pieces” becomes just like every other addiction film, relying on colorful addict characters and torture-porn scenes to arrive at a hopeful end.

For a film that takes place largely in a basket, Harper manages an epic mood. Nonetheless, you can’t help but feel swindled by Hollywood’s hot air.

1917 is a modern war classic and one of the best movies of the year.

The fun in Knives Out is watching an ensemble of super-serious actors getting to misbehave.

This Little Women is two-odd hours of good cheer and lovely ensemble performances. It’s a warm fireplace hearth of a film, albeit one with a tendency to spit out fiery embers.

Matsoukas also finds two first-rate performances in Kaluuya and Turner-Smith. Theirs is one of the more carefully paced romances in recent memory, and the subtle way their tension switches from fear to desire is masterful.

If nothing else, the mere sight of two popes drinking brews and watching a soccer game together is one of the more surreal things you’ll see at the movies this year.

One of the worst depictions of our city ever filmed.

It’s the rare biopic that doesn’t wander into predictability.

If only director James Mangold had taken the route the Wachowskis did with “Speed Racer,” which had psychedelic colors to spice things up.

A taut thriller, The Good Liar keeps you guessing ’til its explosive end. Director Bill Condon’s film is based on the novel by Nicholas Searle, and builds much in the same way a book does. You gotta get through the first 30 pages to become fully absorbed.

With Frozen II, Disney has done the impossible: It’s made a terrific animated-musical sequel.