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.

Cold Pursuit is stark and refreshing, like taking an icy swim with the Polar Bear Club. A jolt. The movie makes you want him to stay around for a while longer.

The movie is hysterical, and at just under 90 minutes, the gag never wears thin.

It’s almost impossible to resist The Lego Movie 2 for its continued everything-is-awesomeness, even if it does fall back on the trope of playthings terrified of being relegated to the storage bin.

Do not see this movie if you like children, dogs, hands or Hungarian folk music. The Prodigy, the latest in a long, increasingly lousy line of bloodthirsty kid movies, might spoil all of the above for you.

Cohen, so good in 2015’s “Brooklyn,” is chilling as the shark-eyed Varg (who has been linked to hate crimes in France in recent years), and Culkin brings just the right amount of eye-twitch to Aarseth, who seemingly enjoyed making grandiose proclamations of “evil” and donning corpse makeup rather than actual criminal activity — yet did little to stop out-of-control followers.

Overall, Miss Bala is a misfire — but its leading lady is No. 1 with a bullet. And that’s a beautiful sight to see.

Writer-director Steven Knight mixes a tried-and-true James M. Cain formula with a clever digital gimmick worthy of Christopher Nolan, but some of his dialogue is overripe to the point of rot.

Cornish, who hasn’t directed a film since the excellent 2011 teens-versus-aliens movie “Attack the Block,” has created a movie with the goofy charm of 1980s kids adventure flicks, such as “The Goonies” or “The NeverEnding Story.” It’s gentle — and almost completely bloodless.

The film tries to be clever by going meta: Once again, it’s rooted in Mr. Glass’ conviction that superheroes are real, and it repeatedly name-checks comic-book tropes that are reflected, languidly, in the movie’s own plot. But in the end, all it really reveals is a onetime visionary’s glass now half — no, let’s go with mostly — empty.

It’s a quiet, slow burn but one that stays with you.

The Upside has a downside: We’ve seen it a million times before.

Despite the film’s wispiness, though, there is always something compelling about Waterston, who is usually the best part of any film she’s in (see also: “Inherent Vice,” “Alien: Covenant”).

It's not asking much that a thriller be scary or shocking. This one waffles between being predictable and absurd.

Nothing salacious, and no dropped bombs here. Stan & Ollie portrays the pair less as hot-headed collaborators than a bickering married couple.

Tatiana Maslany (“Orphan Black”) is nearly unrecognizable as Petra, Silas’ longtime girlfriend caught in Bell’s roundup, and Bradley Whitford shows up in the latest of his silver-haired villain roles as a sketchy lawyer.

Here, Ginsburg is just an idea, a symbol — a meme.

Despite a sympathetic lead performance from Steve Carell, the fictionalized version bogs down in extensive animated doll sequences, so similar they grow increasingly tiresome.

The franchise’s greatest transformation yet: He’s made a pretty good movie.

Billed as a dramedy, the film has plenty of “WTF” funny moments, but it’s always laughter tinged with darkness.