The movie is full of tiny moments of delight.

In the end, Captain America: Brave New World is enjoyable enough for what it is: a proper introduction of Sam as Captain America. Unfortunately, it’s a rather bumpy flight along the way.

This mesmerizing film is a tribute to an astonishing woman and a timely reminder of a dark period in a country’s history. And, through its vivid use of photographs (particularly the real-life ones shown at the end), it’s a reminder that through film, our stories live on.

Overall, Heart Eyes has a winning formula, but maybe don’t expect it to sweep you off your feet.

Ultimately, all we come away with is a few cheap laughs at online culture, which dates Love Me to its own time and place, an artifact not even of now, but the recent past. This love story isn’t futuristic at all.

A tidy if bloodstained little thriller with a clever idea at its core.

The lessons of compassion and empathy are profound, and remind us that tales of good triumphing over evil are evergreen, even when it doesn’t seem to be reflected in the world around us.

With a ruthlessly pared-down approach and compelling performer in Dynevor, who carries the film effortlessly, “Inheritance” is a throwback thriller that hearkens to the retro days of the Y2K era. And while its style eclipses its substance, it’s the style that makes this cinematic curio worth watching.

Koepp is one of the most successful screenwriters of all time, and Presence feels like one of the screenplays from his discard pile that Soderbergh scooped up for a quickie experiment. The experiment was indeed successful, but the story itself isn’t.

The film is a loving tribute from a son to a father figure, but perhaps Deen is too close to the story to have much perspective on it. We’ve seen this story before and Brave the Dark doesn’t shed new light.

All of the performances are vivid (Webber’s ability to convey heartbreak in a silent gaze is uncanny), but Jean-Baptiste, reuniting with Leigh for the first time since 1996’s “Secrets & Lies,” holds on to this movie the way Pansy holds on to a grudge.

Nickel Boys is a life, made up of pieces; some of them lovely, some devastating. It’s a mesmerizing, uniquely told story — of memory, of injustice, of friendship, of survival.

Unfolding like a thriller but uncomfortably real, September 5 is a haunting portrait of a time when seeing terrorism live on television was something new and strange — and a reminder that, sadly, things may not have changed all that much. But it’s also a stirring depiction of people simply doing their jobs, making decisions in the moment as best they can, trying to do things right when there’s no playbook and hundreds of millions of people watching.

Ultimately, The Room Next Door is as much about love as it is about death — not the romantic kind of love, but the sort in which two friends hold each other up (quite literally, as Martha takes Ingrid’s arm during their walks) and give each other what they need, selflessly. Its final, magical moment finds uncanny beauty in sadness.

Anderson, who may well have been waiting her entire career for a role this rich, finds something sweet and haunting in Shelly, whose whispery voice sounds like a shadow and who sees art and value where Hannah sees tacky exploitation.

The movie’s a playful commentary on overdependence on technology — Wallace has machines that bathe him, dress him and make his tea — but it’s also just fast-paced fun, and you look forward to watching it a second time to catch the sight gags you missed.

It’s not the best Dracula movie of all time, though it aspires to that. Murnau’s original still leads the pack. But it certainly is the most stylish. Eggers is a filmmaker with astonishing visual flair.

Kidman is the big deal here, and it is the frisky, introspective elasticity of her performance that sent me out of the theater on a feverish high.

While it ticks all the expected boxes for a sports drama, it’s also something more.

The series shows no signs of stopping (there are not one but two postcredits teasers), and with each iteration, there are diminishing returns on this character and formula, but as long as they keep up the silly, fourth-wall breaking humor, and earnest messages of teamwork and unity, the Sonic franchise just might have some legs.

After having been made and remade for the screen and converted into a long-running hit Broadway show, it might have seemed like “The Lion King” was a played-out property. “Mufasa,” under Jenkins’ poised and creative direction, proves there is still plenty of life left in the long-reining “King.”

Betrayals, narrow escapes and much battle action ensue in the course of the picture’s paint-by-numbers plotting.

Kraven may be the world’s greatest hunter, but next time, he needs to track down a better movie.

The film is an absolute triumph for Adams, who attacks her role like — yes, sorry — a dog with a bone.

Director Justin Kurzel keeps the action taut and lean, letting the story unfold on the faces of his leading men as they slowly move toward their final confrontation.

When Queer wanders in its own direction in the shaky latter half and captivating conclusion, it may lose some watchers in this descent into dreamlike despair. Still, it crafts a critical last paint stroke in its delicate portrait of desire.

Part 2 is undeniably lively and very obviously pitched to young kids. It’s colorful but not especially distinctive.

This magic musical seems made for film, full of gloriously elaborate sets — can I please move into that dorm room, or at least borrow a few pieces from Glinda’s mountain of pink luggage? — and action sequences that a stage production can’t duplicate.