Call it Buñuel meets Blumhouse, a film that is flawed but so full of ideas that it doesn’t matter.

It Chapter Two is a messier production that barely seems coherent even with the first film as a primer.

What makes it brilliant is that it demonstrates how universal this distinctly Jewish musical has become, how it has been embraced by many cultures and how it is still influential today.

It’s a moving meditation about our unwavering need for creativity, and finding ways to express it.

Calaizzo’s script is sharp, funny and honest, and nicely avoids movie cliches about obesity. Bell’s performance is very good, both physically — the actress herself lost 40 pounds for the role — and emotionally.

It’s a good sign for the intelligence of your science fiction movie, when it’s easy to imagine the story working as a stage play with just two actors.

So while The Fanatic isn’t doing anything particularly new, it knows exactly the movie it wants to be. There’s a trashy, pulp energy powering us through the efficient 88-minute run time — long enough to invest us in the stakes, short enough not to wear out its welcome.

How much of it is true? Well, all of it. It happened, at least in the inner life of an imaginative boy, whose boundless curiosity served as the launching pad for a unique and productive life.

In fact, none of the performances here are phoned in. Freeman shows great aptitude for the presidency and should consider running — then he could play the president onscreen and off. And as the vice president, Tim Blake Nelson finally gets a role worthy of his depth.

Late in the extraordinary new Netflix documentary American Factory, Cao DeWang, the Chinese CEO of the Fuyao Group, wonders aloud, “I don’t know if I’m a contributor or a sinner.”

So just showing a glacier breaking off, or a hurricane in full force, doesn’t prove there is climate change. Perhaps if Kossakovsky had provided some context — something to indicate this is happening more frequently, for example — Aquarela might have had more impact. Then it would have been more than just a series of pretty pictures.

When you strip away the novelty of it all, we’re left with little more than a kids-meal version of “Scarface.”

Especially terrific is Rieger, who is a 25-year-old rising star in Israel. She displays a fierce intensity and an appealing vulnerability, and here’s betting that if she chose to, she could follow Gal Gadot’s path from Israel to Hollywood stardom.

The problem with Ready or Not is that directors Matt Bettinelli-Olpin and Tyler Gillett (“V/H/S”) don’t know what kind of movie they want to make, or what to do with their heroine. There are constant shifts in tone — is it a comedy, like the trapped-in-a-mansion “Murder By Death”? A satire on the rich? A kick-ass revenge picture?

Price has given us Yelchin’s most complete performance: himself. It is a cinematic gift to contemporary film fans everywhere.

You can watch 100 movies and never see such joyless joy as in Blinded by the Light.

There are a lot of little things wrong with Where’d You Go, Bernadette, but one big thing right: Cate Blanchett. She takes the title role and has a party with it. The little things wrong can’t be summed up in a sentence, but they linger in the mind and intrude on the memory of the movie, once the bedazzlement of Blanchett’s performance starts to wear off.

The big problem of Good Boys is not that it’s harsh or nasty or outrageous or tasteless or shocking or appalling. The problem is that it’s none of those things, when it should have been all of those things. It’s safe and sentimental, with just a few mild laughs.

Director/writer Kim Joo-hwan (“Midnight Runners”) builds tension deliberately and slowly over the 129-minute running time, delivering some undeniably chilling and visually unsettling images along the way. The Divine Fury doesn’t revolutionize the exorcism movie, but it does manage to shake it up a bit.

There’s a Danish film called “After the Wedding” which was released here in 2007 and nominated for the foreign film Oscar. It didn’t win — it had the bad luck to be nominated against “The Lives of Others,” which was even better. But it’s a great film. The new After the Wedding is the American remake, and it’s fascinating. That is, it’s fascinating in that it’s not even close to great, despite using the same scenario. Indeed, it would be a real lesson in filmmaking to watch both movies back to back, just to see how to do things and how not to do things. And, just to clarify, the new After the Wedding would be in the “how not to do things” category.

Fortunately, the movie gets a huge lift from Johnson, who reappears in the second half of the film and rescues it from nonstop boys’ hijinks. It’s not enough to say the camera loves her. Put Johnson in a close-up and the rest of the movie disappears.

It’s a clinical product crafted on the assembly line of the studio floor with pieces plucked liberally from better movies before it, and crammed so thoroughly with sight gags and wordplay it hopes you won’t notice that there’s no “there” there.

The film finally gets into gear around the midpoint and zooms to a satisfying finish.

It's so joyful and confident in its own premise that it practically dares you not to walk out of the theater with a smile on your face, strutting like a peacock.

Early scenes are unnecessarily horrific, and the final scenes falter from a disconcerting shift in tone. But this still leaves a significant stretch of beautiful acting, thoroughly engaging action and vital history lessons about the brutality on which some supposedly civil societies were built.

Director Sameh Zoabi relies on the old adage that we have more in common than not, but it’s a lesson that bears repeating — particularly when laughs come with it.

Speaking of female gangsters, no review of The Kitchen should overlook Margo Martindale, who steals every scene she’s in as a mob matriarch — a gravelly voiced monster with a gutter mouth and a big photo of John F. Kennedy on her wall. Martindale gets to be evil and has as much fun onscreen as she can without smiling.

The film is exquisitely acted, with Englert making Mara’s emotional pain real. It’s reminiscent of Jennifer Lawrence’s breakout role in “Winter’s Bone,” which was set in a similar geographic area. Throw in equally strong performances from Goggins, Colman and especially Mann, and the lean, stark Them That Follow ends up packing quite a punch.