Like Disney’s tepid 2019 live-action remake of “The Lion King,” it’s virtually a beat-by-beat remake of the original, but without the original’s energy and movement.

An unnerving thriller that never goes quite where you’d expect, this feature writing/directing debut from Zach Cregger (“The Whitest Kids U’Know”) also does monstrously amazing things with lighting, sets and special effects makeup.

The Anthrax Attacks conjures the terror and paranoia afresh and, with the hindsight of 21 years, asks the viewer to consider how effectively the crisis was handled.

François Ozon’s Peter von Kant, about a film director toxically obsessed with a young actor, is much more than a remake. It’s a valentine.

Credit to Hart, though, for trying to make every scene, comic or sentimental, as strong as he can. He reads each line that’s supposed to be funny as if it is, locates Sonny’s emotional truth no matter how ridiculous the scene is, and never lets his signature energy sag.

There’s more to life than just stories and really, Djinn and Alithea just need to get a life.

The cast is uniformly good, but it’s Bardem’s sly, harried performance that powers this overlong, and more amusing than funny, comedy.

It’s a pastiche of a pastiche, cycling through familiar tropes without adding anything to them; turning what could have been a fascinating critique of society’s superhero obsession into just another way of indulging it.

In his quiet, sad stoicism, Boyega at times seems to be channeling Denzel Washington. He embodies the dignity of suffering.

The filmmaker’s default setting is to tell each person’s story with dignity, a significant achievement that goes a long way.

The movie’s midsection, by far its most effective part, offers its share of heart-pounding moments.

Look Both Ways has a couple of things going for it, namely a compelling premise and the charm of Lili Reinhart (“Riverdale”) in the lead role. But the whole movie is a lie, and once you figure that out, the realization cuts into a lot of the pleasure.

The movie captures something that we missed on this side of the Atlantic. The British public’s obsession with Diana was unrelenting. Every move she made became occasion for analysis — most of it idiotic — on the endless string of talk shows they have over there.

Day Shift pauses for a promising concept every now and then before zooming off to its next helping of amped-up gore. The graphic violence is never terribly disturbing, mostly because it’s rendered with cartoonish exaggeration.

Girl Picture excels at showing how teenage life can be a sensory experience that’s exhilaratingly joyful and unbearably painful, sometimes simultaneously.

It’s a crime movie, but as the title suggests, it’s a personality study, a detailed one that grows in dimension. It’s fascinating to watch Plaza fill in those details. Her face is almost blank, but only almost. We always know what she’s thinking.

It’s the rare film that can match the vapidity and venom of "Bodies Bodies Bodies," a combination that’s both toxic and entertaining. There are many influences — “Mean Girls,” “Gossip Girl,” “Scream,” to name a few — but "Bodies Bodies Bodies" takes all of these influences and creates an original spin for the social media age.

A lean, mean, riveting back-to-nature horror film that flies through its thrilling 99 minutes.

Ultimately, “Mija” fails almost totally, and two main things tank it: (1) the lack of complete access to the subjects, who should have been grateful for the exposure, and (2) too much collaboration between the director and her subjects. There are documentaries and there are promotional films. A documentarian needs to keep those categories rigorously separate.

It’s not like bad Tarantino. That would be too kind. It’s like an imitation of a bad imitation of Tarantino — violent, unfelt and witless, and straining to be funny.

Thirteen Lives deserves to be seen. The only question is whether audiences will be up for it. I saw it on a huge screen and had to occasionally remind myself that if it got really overwhelming, I could always close my eyes. It’s that intense.

Vengeance is unexpected and, in the best way, weird. In his first film as a writer-director, B.J. Novak takes familiar elements, but puts them together in ways that are original and unexpected. Even when the plot turns go off the deep end, it’s impossible not to appreciate Novak’s audacity.

With Margaret threatening to lose it at any moment, “Resurrection” is #MeToo horror at its cringiest.

In the end, “My Old School” is a well-made documentary that succeeds in most ways but that starts to crumple in the face of a single question: Who cares?

It’s a loving sampler platter full of big laughs and heart that will satisfy lifelong DC buffs, while serving as the perfect on-ramp to the universe for a whole new generation of young fans.

A familiar feel-good story told through an unseen perspective, Anything’s Possible is an overdue inclusion of trans youth in the celebratory innocence of the coming-of-age genre.

Every so often an obviously talented person makes a bad movie, and that’s what we have in Nope. The talent is there, the movie is dead on the screen.

Writer-director Caroline Vignal could have made "My Donkey” into a 90-minute monologue, with Antoinette talking to the donkey. Instead, there’s lots of variation, smart turns of story and well-drawn, well-defined characters. Vignal makes even the bit characters, the ones with just three or four lines, vivid.