It’s all quite wistfully romantic, and mostly winningly so, despite the sometimes wise-way-beyond-their-years dialogue and not always plausible plot.

It’s a haunting, heartbreaking story, told by a movie that never quite makes a case for itself to exist.

It’s all pretty silly, but the way “Parabellum” keeps topping itself and then topping the toppings makes the picture eminently watchable. It’s a guilty summertime-movie pleasure for sure.

Hathaway and Wilson, instead of exuding odd-couple comic chemistry, seem to barely be in the same movie; they don’t click, with each other or with a bland Alex Sharp as their tech-bro mark.

It’s a movie full of small pleasures.

There’s a lot of exposition involved in making all this palace intrigue clear. But Zhang balances the talky sections with breathtaking outdoor scenes. Zhang’s trademark, preternaturally balletic fight sequences also do not disappoint.

Overlong set-piece action scenes pitched in the key of chaos, full of running and screaming and a whole lot of falling down, ultimately turn “Pikachu” into a wearying slog.

It’s a raunchy comedy, with a plot that ends up hinging on a very R-rated video. And, most surprising of all, it’s also a conventional and rather sweet rom-com.

There’s exactly one good jump-scare, which probably would have caused me to drop my popcorn if I hadn’t finished it already; otherwise it’s fairly uninspired. But something about Quaid’s delivery had me giggling throughout — or, at least, until things got rather too dark in the final minutes.

You sense that this woman has spent a lifetime not saying things, and that all she wants is to quietly be allowed to fade away.

Thanks to the excellence of its two key performances, “Stockholm” an uncommonly effective thriller, one with a heart and a brain.

Oh yes indeed. Avengers: Endgame brought it...This film had an insanely difficult job to do — to gracefully and tidily wrap up a 22-movie Marvel Comics cycle with a cast list bigger than the Hulk, and to do so with both poignancy and hold-your-breath action — and it delivers.

Watching Alejandro Gonzalez Iñárritu’s multilayered “Birdman” is like unfolding a piece of intricate origami; it keeps opening in unexpected directions.

Fascinating.

It’s a quick, funny movie.

The true power of “Penguins” lies in the breathtaking visuals of Antarctic scenery and overhead shots of penguins, thousands upon thousands of them, moving across ice fields, black dots on bright white background stretching to the distant horizon. When it steps back from the schmaltz, “Penguins” becomes an impressive piece of work.

But Martin — who at age 10 came up with and pitched the idea for this movie (she’s now 14) — carries this movie on her small, resolute shoulders.

Painstakingly reassembled by producer Alan Elliott (Pollack, who never gave up hope on the project, died in 2008), Amazing Grace shows us an artist at the peak of her powers.

“Link” is fun as far as it goes, but from Laika we expect something with a little more depth.

The picture’s real weakness is that the reanimated dead display a great deal more vitality than the characters in their pre-killed state.

A rare charmer from the DC Comics universe.

The changes Bissell makes to the story are overly contrived, and the writing and editing are shaky. Most egregiously, Ann’s perspective is completely underwritten, without any personal history and the single humanizing factor of one daughter, who appears only briefly.

In the midst of that hostile physical and psychic landscape, de Clermont-Tonnerre has made a stringent tale of a struggle for redemption.

It’s a horrifying tale, and Maras, a Greek-Australian filmmaker, does not shy away from showing the carnage.

Burton’s command of this material and his masterful visual sense makes this Dumbo an engaging delight. Like that winsome elephant, it really does soar.

In only his second movie as a director, Peele is already a master of tone, and Us is full of memorable, vivid touches.

Moore lets us see, through her quietly shining performance, that Gloria believes in love, in the way an old song can make you feel a little younger, and in the power of dressing up and hitting a dance floor by yourself, moving as if in a trance, letting the music take you to a better place.

Along the way, Hummingbird offers cogent commentary on the way unbridled avarice drives the search for even the smallest advantage in the cutthroat world of high finance.