It’s a nice movie, and perfectly watchable — yet it’s hard to escape the sense that it should have been more.

A John Hughes-inspired comedy-drama — think “The Breakfast Club” set in rural Korea — starring a group of teenagers coming to terms with the passionate feelings and issues that evolve with impending adulthood.

It wonderfully explains elements of life with autism, offering a primer for the uninitiated, while profiling a family that was rewarded for its willingness to approach an obstacle with patience and love.

Based on “Umimachi Diary,” a best-selling graphic novel by Akimi Yoshida, Our Little Sister might be Kore-eda’s best film yet. It is certainly one of the best films of 2016.

To put it bluntly, Wiig and McCarthy are funny, but Kate McKinnon and Leslie Jones aren’t. McKinnon, in particular, is shockingly out of place, and she helps drag down the movie.

There have been many movies about cops working undercover, but The Infiltrator is different. It shows the difficulty of it, the almost-second-by-second stress involved in having to be yourself without being yourself, and having to seem relaxed without ever relaxing. It’s possible to get nervous just thinking about this movie.

The film’s thoroughness is a virtue or a problem, depending on one’s point of view.

This film is always pleasant to watch. It shows us that life has little detours, all the way to the end.

From the movie’s first minute, viewers will know they’re in the hands of a sure-footed storyteller.

Life in remote parts of New Zealand must forge hardy souls, judging from the characters in Hunt for the Wilderpeople.

Laughs are laughs, whether you know some of the punch lines ahead of time or not. And The Secret Life of Pets has plenty of laughs.

Comedy is getting more and more nasty and more and more funny. But it’s hard to imagine any movie more nasty-funny than Mike and Dave Need Wedding Dates.

The movie becomes inventive in new ways and even cheery. It’s a true delight.

There’s not a lot of nuance or sense in the third “Purge” movie. But it still manages to coast on a combination of self-awareness, crowd-pleasing carnage and a plot that ties perfectly into current events.

For almost an hour, it keeps us off balance. But once we find that balance, the movie seems to coast.

At the end of the day, Wiener-Dog seems to be saying that life is mundane, then you die. It’s not the stuff of Hallmark cards, but Solondz has a way of making it palatable.

It serves as a great introduction to an important artist who was ahead of his time.

In the end, what we have here is a Tarzan movie made by people who don’t understand the appeal of Tarzan. He’s about joy and abandon and the fantasy of living in harmony with creation. He’s not about the struggle in the Congo.

The sequel is even more silly, and much less fun.

The narratively challenged film seems conflicted: It critiques our obsession with models and beauty and style, even as it obsesses about those very same things. There is a lot of flash, but little substance.

An absorbing, multilayered story about the search for a French girl who goes missing with her Muslim boyfriend, starts in a very un-French way: with cowboys, horses, a Marlboro Man-like billboard and country-and-western music.

Therapy for a Vampire has nothing to say. It just has stuff happening, none of it repulsive and all of it performed by competent actors, but that’s just not enough.

It’s oddly worth seeing.

The Shallows is a very earnest woman-versus-shark film. It delivers the requisite thrills, including a surprisingly satisfying resolution. The heroine is capable; and the writers, who trap her on a rock for half the film, find ways to make her situation seem interesting. But the most important parts, the ones involving the shark, don’t feel genuine.

Free State of Jones is an extraordinarily ambitious film, and for that reason, it’s not perfect.

Dying to Know: Ram Dass and Timothy Leary is a love story, but not in a physical sense; instead, the love here thrives in the spiritual realm, an intimacy that makes this biographical documentary quite appealing.

There’s no denying that this imaginative puzzler has moments you won’t soon forget.

This beautifully shot film (kudos to cinematographer Paul Yee) could have easily been an incoherent mess, but Holmer keeps her lyrical movie under control at all times.