That a movie called “The Sheep Detectives” tries to impart lessons of morality and mindfulness is, of course, laudable. A wide swath of entertainment aimed at children makes no such attempt. But “The Sheep Detectives” could have used more slapstick and less CGI sincerity.

Hokum has so many of the right ingredients going for it.

I wouldn’t begrudge anyone who just wants to see her and these actors together again. But the movie, well stocked in Prada, could have used a bit more of Streep’s unflappable devil.

Put down Orwell’s book and you’ll shiver, convinced to redouble your efforts to protect civil society, stand for dignity and fight for the rule of law. Walk out of this new animated movie and you’ll likely just want to inhale more M&Ms. And fart.

I Swear — at a perhaps overlong run time of two hours — is full of warmth and even humor, with Davidson occasionally laughing at himself and inviting us to join in.

The nostalgia of “Michael” is for more than Michael Jackson. But blindly believing only in that celebrity, in that fantasy, is repeating a sad history all over again.

The tagline for “Lee Cronin’s The Mummy” is “Some things are meant to stay buried.” That also applies to the misguided “Lee Cronin’s The Mummy,” which should definitely stay deep underground for eternity.

Many of its twists aren’t hard to see coming, and the movie sometimes lacks the scale needed for a sprawling battle. But a mustachioed Odenkirk with a shotgun is, by most metrics, more than enough firepower for any movie.

As the movie grows more abstract, it loses momentum. But an impassioned melodrama and a curiously sincere belief in the transformative power of pop music wrap “Mother Mary” in a gothic garb all its own.

A movie as frothy and insubstantial as the foam on a nice cappuccino. It’s also about as believable as some of the woefully stereotypical Italian characters here.

This latest film by the great and astonishingly prolific Steven Soderbergh is not out to give the audience what they think they want from him. Instead, it’s a meditation on art, legacy, creativity and the oh-so-touchy subject of who has the right to critique.

By its nature, “Exit 8” is sparse and repetitive. But in the not-especially-decorated annals of video game adaptations, it’s one of the most compelling and clever meldings of the two mediums — cinema and gaming — we’ve seen yet.

Jittery, tense, fast-talking and always on edge, this is a Hamlet, above all, in a rush.

Maybe [Borgli's] trolling America but “The Drama” is clearly the worst thing he’s ever done.

Mario creator Shigeru Miyamoto and Illumination founder Chris Meledandri, as producers, seem committed to keeping things light and playful even while beholden to advancing some kind of coherent, moderately compelling story where there wasn’t one previously.

Beyond any direct lines of connection between past and present, “Two Prosecutors” has the neatness and timelessness of a parable, one that Gogol might have written, and one that could resonate in any era where the naively courageous challenge fascism.

[Petzold] turns “Miroirs,” a slender and sweet 86-minute puzzle, into one of the more lovely and profound little movies about how hearts can be mended by just opening a door.

Ultimately “Mike & Nick & Nick & Alice” has a few good laughs, some inspired needle drops, quirky references and a go-for-broke energy that should make it an enjoyable, low-stakes click.

They Will Kill You may remind you of the marriage between madcap, social satire and bloody mayhem from “Ready or Not” but it’s a warning of how hard that combo is to get correctly.

It’s hard to pinpoint why this next level of Grace’s very bad wedding night, again directed by Matt Bettinelli-Olpin and Tyler Gillett, feels darker and heavier — and hence, less enjoyable — than the original, which managed to maintain a bouncy feel, even with bodies combusting at an absurd rate. But if we have to blame someone, we’re gonna go with the doctor from “The Pitt.”

Kiri is exceptional in carrying a film in which she’s the only talking, present actor. But that a movie so threadbare manages to feel like too much is both the film’s accomplishment and its failure.

Reminders of Him is a well-crafted, well-acted sad-happy Hoover adaptation.

As in Lord and Miller’s animated movies, their tone and pace remain singular. Project Hail Mary might blow past a two-hour runtime and yet there’s rarely a dull moment with all the problem-solving, earnest irreverence and unabashed commitment to imbuing life and wit into every molecule of the story. Daniel Pemberton’s unusual, buoyant score and Joel Negron’s sharp editing are key.

The tonal extremes and multilayered theatricality of Maggie Gyllenhaal’s movie-mad movie are, by any measure, a lot. But I would argue such ambitious gambits are exactly the kind that a filmmaker in their sophomore outing ought to be taking. “The Bride!” feels constantly like an act of plate-spinning that’s about to collapse. That it doesn’t is a fever-dream feat, one that makes me eager to see what Gyllenhaal does next.

Somehow, amid all the lighthearted anarchy, “Hoppers” manages to pull a few emotional strings too. After the heavy-handed “Elio” misfire, “Hoppers” might still feel fairly distant from the heights of peak Pixar; It’s also a big, joyful leap in the right direction.

Lumbering along while fatally wounded, this is a franchise that doesn’t know it is dead, staggering ever onward without an ending in sight.

It’s both captivating and bleak, with a series of sexual encounters that can only be described as feral — “Wuthering Heights” wishes it could have hit the ravenous peaks of Fernando and Jennifer together.

Like its subject, “Man on the Run” inevitably pales next to films of the Beatles heyday. But it’s a meaningful companion piece about the end of an era and the start of a long and winding road.