It’s pretty clear after watching the new live-action Aladdin that doubts about Will Smith’s casting as the Genie are overblown. It’s the guy behind the camera who should be doubted. And stuffed into a small lamp forever.

Sincerity is what anchors this film — especially Swinton Byrne’s astonishingly sincere performance.

Rocketman is happiest with its feet far off the ground in a dreamy pop splendor, with headlights all along the highway.

The driving engine behind the film — a whirlwind 24-hour romance — is contrived, underwhelming and perhaps worst of all, unconvincing.

There is no doubt that these sequences are quite easily, in form and execution, a cut above what most any other action film is currently doing.

The Biggest Little Farm can at times feel like a larger, better-produced version of the kind of viral video that spreads on Facebook, equal parts uplifting and self-congratulating. It’s a self-contained film about a self-contained paradise.

Poms really wants to be a sweet movie with a sweet message, but it’s hard to buy into it when none of the squad gets significant backstories, inner lives or even enough dialogue to give them distinct personalities. They’re just there to be punching bags for other characters and the movie.

You’ve played Pokémon Go, right? Call this one Pokémon Don’t Go.

Some have argued that the film glorifies its subject. It doesn’t, really. But it doesn’t explain him, either. And that leads to another question, which is, if there’s nothing really new to say about Ted Bundy, need we be saying anything?

It’s not a perfect film, it lags at times and at over two hours it is far too long, but Theron and Rogen have a natural chemistry that makes spending a couple hours with them, even in the dullish moments, a joy.

The dance sequences, in training and performance, are magnificent. Fiennes is fascinated by the athleticism of ballet, and the granular details of the flexing muscles in feet and forearms.

Generous in humor, spirit and sentimentality, Anthony and Joe Russo's Endgame is a surprisingly full feast of blockbuster-making that, through some time-traveling magic, looks back nostalgically at Marvel's decade of world domination. This is the Marvel machine working at high gear, in full control of its myth-making powers and uncovering more emotion in its fictional cosmos than ever before.

Plotlines are abandoned at will, there are set ups for things that never come back and some suspiciously malleable “monster-logic” that makes the whole endeavor seem a little lazy and half-baked.

Someone Great has not exactly rewritten the rom-com rule book. Where it distinguishes itself is in the fresh faces of it cast (the rom-com is not known as the most diverse of genres) and in focusing on the hard realities of breakup rather than the fairytale of falling in love.

A sort of high-gloss, nicely crafted daydream with a good score and generous references to LA noir films.

The pacing is sluggish when it should be quickening, and nothing in how Little turns out will surprise anyone. Yet the trio of Hall, Rae and Martin makes Little a consistently pleasant experience.

It’s really a series of violent vignettes strung together, getting more and more outlandish and introducing characters at such a blistering pace that you just want it to stop already.

Hawke takes a fairly one-dimensional character and gives it an intelligent and shaded performance.

I’m still not entirely sure what it all adds up to, but it is provocative, difficult and bleak and leaves you with a very precise feeling of despair and aloneness — just like the best of the space independents do.

While much of Bissell’s film is poignantly rendered, especially the spirited lead performances by Taraji P. Henson and Sam Rockwell, it has its flaws and its omissions.

It’s not plot deviations from King’s novel that hamper Pet Sematary. It’s that, from early on, Kölsch and Widmyer, rely less on the detailed accumulation of atmosphere that King built his tale on, than jump cuts and music cues to build suspense. It puts Pet Sematary on a more familiar genre track.

Part of the fun of Amazing Grace is watching not just those in the thrall of Franklin (Mick Jagger can be seen bopping in the back of the church) but witnessing the awe Franklin evokes.

A bizarre and transfixing carnival of vulgarity and vice.

Burton’s Dumbo, while inevitably lacking much of the magic of the original, has charms and melancholies of its own, starting, naturally, with the elephant in the room. Of all the CGI make-overs, this Dumbo is the most textured, sweetest and most soulful of creatures.

The film often feels in many ways as an attempt to correct history, or at least the previous Dunaway-Beatty-led portrayal of a bumbling Hamer. But there are moments of beautiful stillness and nicely-filmed sequences — like a nifty car chase in dust clouds — that make the hunt enjoyable.

Nitpicks aside, Shazam! is just a lightning bolt of unexpected joy that is certainly worth your time and money.

In Us, Peele has produced a terrifying artifact: a sinister ballet of doppelgangers and inversions that makes flesh the unseen underbelly lurking beneath every sunny American dream and behind every contented nuclear family. It’s a scissor-sharp rebuke to anyone who’s ever held hands and sang “Kumbaya.”

Wonder Park has a great premise about a spunky kid engineer and a world she constructs taking flight, but takes a few too many dark loop-de-loops and crashes hard. If you pass this amusement park, skip it.