Given its obvious parallels with modern-day events, it’s a shame Felt’s ensuing story is so wanly told.

Everything is still mostly awesome.

It’s a feel-good film with a somewhat curdled legacy: You could clip just about any piece of sexist dialogue here, label it 2017 and pass it off as plausible.

Director David Gordon Green (“Our Brand Is Crisis”) generally skips feel-good cliché to chronicle Bauman’s struggle with being painted as the face of never letting the terrorists win.

Immensely satisfying action thriller.

White excels at writing dislikable protagonists — topped by Laura Dern on the HBO series “Enlightened” — while giving his characters enough humanity not to be monsters, and the potential for change.

Calm down, “Black Swan” guy. Viewers will survive; some may find, as I did, scenes he intended to be terrifying as ridiculously over-the-top. But Mother! is undeniably a wild, memorable ride. It’s a Rorschach test of a movie to interpret however you like.

Dinklage is a terrific actor who’s always engaging to watch, and he elevates this screenplay’s plot holes and lame dialogue.

What puts the bonkers premise of Home Again inside the realm of possibility is the brilliant casting of Candice Bergen as Witherspoon’s mom, a former cinema siren.

The literal ghouls here take a back seat to the subtler ones, which are really where It shines darkly.

Overall, everyone’s working far too hard at hitting their marks in this march toward a conclusion that’s both predictable and laughable.

It’s a lark, if you can tolerate the hammy redneck accents, and confirms that Soderbergh is as agile as ever at knitting together all the moving parts of a complex heist.

Interspersed with the gore is banter between the leads, who fall into a predictable odd-couple pairing of fussy (Reynolds) and gonzo (Jackson). Their rapport is amusing, but entirely, clumsily incongruous with the thuggish mayhem all around them.

If the plot becomes a bit scattered in its third act, a generous interpretation might be that it’s a reflection of the chaotic cultural backdrop. Chon directs with style and a humane eye for all parties; he’s a dynamic young director to keep your eye on.

Movie adaptations shouldn’t require that you know their source material. But in the case of The Glass Castle, it’s impossible not to just say it: You’re better off reading the book.

Its double-barrel satire is aimed both at those who curate their lives through merrily sun-dappled photos, and their followers, who drink it in as reality.

Too bad this Tower of Error will leave them muttering “Redrum. Redrum” on the way out.

Detroit may be tricked out with the Motown and miniskirts of the era, but its police-brutality narrative, assembled with firsthand accounts of that day, has chilling parallels with the here and now. It is not an easy watch, and it is an essential one.

Based on the graphic novel “The Coldest City,” this film keeps its comic-book aesthetic front and center.

Please restore my eyes to factory settings. They have seen The Emoji Movie, a new exercise in soulless branding, aimed primarily at little kids.

If you’re going to call your sci-fi movie Valerian and the City of a Thousand Planets, you’d better be sure Valerian (Dane DeHaan) is a guy your audience can get behind. Director Luc Besson styles him as a cocky space rogue, but Valerian is weak sauce. And so is this movie.

Now this is how you do a female raunch comedy. Equal parts crass, heartfelt and goofy, Girls Trip manages to hit all the right notes.

Dunkirk satisfies as a brisk, gripping survival story. At only 107 minutes, it’s also astonishingly short in an era when most movies needlessly run on long beyond the two-hour mark.

Footnotes isn’t perfect, but at least nobody lectured me about jazz.

Apologies to Charlton Heston loyalists, but War for the Planet of the Apes is a good example of how today’s movies sometimes beat the hell out of the oldies.

This is a single story that feels like a handful of sketches in need of more connection.

C’s wordless vigil will send you away with a shivery melancholy that defies easy explanation. And that, after all, is the essence of every good ghost story.

The least we can do is watch what they’ve risked their lives to show us — and help break the silence. Their story should be required viewing for anyone engaging in discussion of the refugee “problem.”