If “Fast Six” is as much guilty-pleasure fun as this edition, directed within an inch of its life by Justin Lin (even the occasional subtitles are excitable), it’ll do just fine.

What the movie makes clear is that that deeply spiritual moment represented a triumph of management.

Cézanne et Moi sounds more fascinating than it actually is; essentially, it’s just under two hours of exquisitely art-directed conversation, little of which is especially compelling.

The plot tries too hard to incorporate elements that drift toward melodrama.

It’s impossible to watch this film without a tapping toe and a smile.

The movie zips along quickly, full of popcorn-worthy moments.

Weaver’s Kay is a fanatic.

That’s a lot for a viewer to take in, and as pleasing as some aspects of Your Name can be, there’s no question Shinkai’s overstuffed movie often trips over itself.

It’s an agreeably generic mishmash of every old-guys-pull-one-last-heist movie you’ve ever seen.

It’s a simple, moving story about love, loss and storytelling itself.

It’s somehow only fitting that with Scarlett Johansson in the lead role, Ghost in the Shell leaves you with the feeling that something has been lost in translation.

For Here or to Go? offers an insightful group portrait but lacks imagination in a romantic subplot and (except for a requisite Bollywood-style dance number) is visually dreary.

It’s all very bizarrely, pointlessly complicated.

A coming-of-age tale like you’ve never seen, Julia Ducournau’s Raw left me intrigued, mildly nauseated and extremely curious about what passes for recreation at French veterinary schools.

It’s a remarkable story, told in a movie that doesn’t always quite live up to it; except for a few crucial scenes, The Zookeeper’s Wife feels a bit too soft-focus for the devastating story it tells.

Power Rangers maintains the essence of its origins in that it’s rather pleasantly bonkers. It errs on the side of goofy rather than gritty, and that’s to its favor.

Zandvliet is a relatively young and inexperienced director, but his spare use of music and widescreen images is assured and even inspired.

T2 is a sequel that is at least the equal of the revered original.

A character, even when he’s played by Woody Harrelson, is not a movie.

In space, everyone can hear you yawn.

Batra has assembled a strong cast, a thoughtful screenplay (by Nick Payne), a meticulous attention to detail — all of which make The Sense of an Ending a pleasure to watch. But the book ever-so-subtly slams you in the heart; the movie, just as subtly, only walks near it.

Are we alone, or is there more than we know? Personal Shopper is less interested in the answer than in, hauntingly, posing the question.

This Beauty and the Beast had me leaving the theater feeling utterly happy; like I’d spent time with old friends who’d grown and changed, and yet remained the same at heart.

I’ll admit to a weakness for this sort of thing (which Merchant-Ivory, a couple of decades back, made into elegant art), but even I couldn’t muster up much enthusiasm for this one, a tepid love triangle set in the Ottoman Empire in the early days of World War I.

Along with the kids’ sorrow, Barras works uplift and lightness into the story, and there are moments of great joy. In the end, it’s positivity that prevails.

Kong: Skull Island won’t win any points for the brilliance of its writing (or for the way it reduces a terrific actor like Larson to a personality-free camera-clicker) — but oh, that ape

What’s most memorable about Kedi are the individual, self-contained moments.

Even Deutch’s charming radiance (she never entirely sells Sam’s nasty side) can’t quite get us through the slog of this plot.