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.”

Here’s a franchise you’d think had been done to death (wasn’t the last webslinger reboot, like, two years ago?), and yet Spider-Man: Homecoming feels fresh and new, an endearingly awkward kid brother to the glamorous “Wonder Woman.”

Bong Joon-ho directed one of the best dystopian thrillers in recent years — 2013’s “Snowpiercer” — and one of the finest monster movies ever, 2006’s “The Host.” You’ll find elements of both in his chilling, subversive new Netflix film, Okja, about a girl named Mija (Ahn Seo-hyun) and her enormous pet superpig.

This is the song of the summer in movie form, a playful ode to car chases, Motown, diners, that moment when you find the exact tune that matches your mood, driving stick, crime capers, ’80s movies and love.

Mainly, though, this is Nanjiani’s show. Bits of his smart, cross-culturally incisive stand-up are sprinkled throughout, in performances alongside his fellow comics (one of whom is Aidy Bryant of “SNL”).

Bay swipes elements from other popular movies and TV shows, such as “The Da Vinci Code,” “Star Wars: The Force Awakens” and “Game of Thrones.” This director’s motto? Throw everything at the wall and then blow that wall sky-high!

It’s the first R-rated, woman-directed comedy in years! — here’s the rub: The funniest thing about it is the men.

Director Trey Edward Shults made his debut last year with the indie drama “Krisha,” and this one’s a very different take on family dynamics — not at all your typical horror film.

Pine makes a perfect foil for Gadot’s furrowed-brow sincerity, his Steve Trevor wry and comfortable enough in his skin to hold his own with Diana (even when she’s scrutinizing his naked form).

Half dark, deliciously topical political satire and half somber portrait of a flailing counterinsurgency effort. The two don’t mesh well, and given the number of modern war movies already out there, it should have stuck with the former.

It’s a little less cute these days to watch his Jack Sparrow swish about drunkenly, knowing the actor’s an abusive lush. Equally wearisome is the spectacle of a once-entertaining franchise staggering around, devoid of purpose.

Baywatch is not nearly as good as this genre’s best entries, like 2012’s “21 Jump Street.” It washes up on the beach like a dead whale.

It’s a heavy lift to find any single thing that happens here remotely plausible, and ultimately it almost seems a horror movie misinterpreted as a romance. File this one under “The Fault in Our Screenplay.”

Clearly, the elder Scott’s aim is on the scares — and oh, what satisfying, terrifying, screams-echoing-down-a-ship’s-corridor scares they are. All the philosophical debate here belongs to the robots — which is possibly even more chilling.

It was supposed to be a lark. And then, almost immediately, it went off the rails. I’m not referring to the mother-daughter vacation gone wrong in Snatched, but rather the experience of watching it.

It’s all a delightful mess, executed with a deft touch by Jacobs.

Unfortunately, “Arthur” is rarely at its best, bogged down in countless CGI sequences of battlefields or monsters.

If it’s overstuffed in the way of most sequels, well, at least it’s stuffed with good cheer.

It feels like the brainchild of middle-aged guys (James Ponsoldt directed and co-wrote the screenplay with Eggers) who still think of Facebook as cutting edge.

For a bad movie, this one is an awful lot of fun.