The Bob’s Burgers Movie feels very easy and lived in thanks at least in part to the fact that its vocal cast has been doing this for over 200 episodes.

In the end, “A New Era” is a misnomer of a title — not much has changed, which actually may be the best gift to “Downton” fans. After a tough couple of years, you could do worse than this, the latest in what may end up being a line of sequels as long as the Crawley bloodline.

The problem with Men isn’t with the acting. It’s with a script that could be described as attempting at something like arty horror and can’t stick the landing. Often it is tedious, slow to build and pretentious.

If you must reboot an over 30-year-old Disney Channel cartoon like Chip ’n Dale: Rescue Rangers, you could do much worse than looking to “Who Framed Roger Rabbit” for inspiration. But it is a high bar and though Chip ‘n Dale might not reach the heights of that Robert Zemeckis film, it is still a pleasant surprise stuffed to the brim with pop culture references that children of the Chip ’n Dale era may enjoy.

Hold Your Fire... burrows into the real roots of an oft-replayed movie scenario with insight and care.

There wasn’t a great reason to take another shot at Firestarter. Besides, even if it’s lacking in originality, it’s also lacking something even more important: A personality.

The film handles Maverick’s personal stuff — wooing the barmaid, repairing his relationship with Goose’s kid — while also fulfilling its promise as an action movie. There are jets pulling 10Gs, the metal sound of cockpit sticks pulled in gear, epic dogfights and the whine of machinery balking at the demands put on it. The action even takes a few unexpected and thrilling turns.

Not surprisingly, Carmichael proves a director who is nothing if not confident and comfortable with the UNcomfortable. He keeps the action moving — at a few moments, the film even feels like an action pic.

To a remarkable degree, Happening is viscerally connected with its protagonist, closely detailing not just her navigation of social taboos and restrictions but capturing her unapologetic determination. It’s a movie about abortion, yes, but it’s also a coming-of-age tale about a woman’s resolve.

Raimi doesn’t take “Doctor Strange” to an entirely new tonal place, like, say Taika Waititi did with Thor. He mostly sticks to the framework established by Scott Derrickson.

Pearce, sweaty and grungy, steadies Memory; it’s his film as much as Neeson’s.

Hatching is an assured and promising debut for Bergholm with a jaw-dropping ending that may just cement it as a cult classic in the making.

Bourgeois-Tacquet, making her feature debut, struggles to find ways to tell the audience what’s going on her heroine’s head.

The mythic simplicity is part of the point of The Northman, but the movie’s single-minded protagonist and its elemental conflicts verge closer to “Conan the Barbarian” territory than perhaps is ideal. Eggers’ film is only fitfully enchanting and squanders its mean momentum.

Sciamma is able to bring to life essential truths of what it is like to be that strange age and the sometimes frightening, sometimes wonderful vastness of a limitless imagination. And she even does it without a background score to manipulate our tear ducts.

[Michell] imbues his last film with so much charm, wit and good storytelling that he, too, cannot help but win.

The Secrets of Dumbledore, lacking in much magic, is a bit of a bore.

Navalny is so taut and suspenseful you’d think John le Carré had left behind a secret manuscript that’s only just coming to light now.

There’s always something a little off about Father Stu, a sense that the filmmakers have taken a lot of liberties with a real life to make it extra saintly.

Though it starts off promisingly enough with Carrey’s character marooned on a “piece of shitake” mushroom planet, it soon becomes evident that this outing is a soulless attempt to up the stakes and cash in.

In Arnold’s careful, unhurried hands, it is a sobering lesson, though one without a clear agenda. Arnold simply seems interested in telling us Luma’s story. And that is enough.

Ambulance pines for a visceral, breezily violent style of film that doesn’t slow down to ask too many questions. And while Bay’s film wouldn’t stand up to too much inquiry — this is a movie where a ruptured spleen is treated with a hairpin — it’s hard to deny its escapist panache.

The filmmakers — director Daniel Espinosa, hobbled by a meandering script from Matt Sazama and Burk Sharpless — simply do not know what to do with this creature once they’ve given us his backstory.

You Won’t Be Alone enchants in its novel perspective and in its sharp-shifting protagonist’s unquenchable curiosity. The witch, once so set in stereotype, has never felt so enthrallingly elastic.

As with most Linklater joints, it’s so sincere and so sweetly true that you can’t really fault it for not reinventing the wheel. Just like a story that your parents have told or maybe you’ve told a million times before, it’s comforting.

It’s a preposterous and tasteless ode to the messy, nonsensical struggle and bliss of being human.

It may not be great cinema in any traditional sense, but it’s great fun and a much-needed antidote to all the bad cover versions floating around.

Memory is selective, memory is jumbled, memory travels in different directions. And so does “Mothering Sunday,” Eva Husson’s affecting and visually pleasing — if languorous — meditation on love and loss, based on a woman’s memory of an impactful day that reverberates through her long life.