Anime enthusiasts will enjoy The Boy and the Beast, but so will anyone who appreciates a good fantasy yarn.

Swedish director Roar Uthaug (“Cold Prey“) depends on well-crafted suspense, spot-on casting and ingenious special effects to tell the story of a dedicated geologist (Kristoffer Joner) who prophesies watery disaster in touristy Norway.

Strange movie. And despite the presence of Tina Fey playing its lead character, a cable-TV reporter named Kim Baker, it’s not a funny one.

Zootopia delights, in ways big and small.

The action is pumped up. The destruction is extreme. The whole thing is absurd.

Using a rich trove of archival footage and interviews with Cernan, members of his family, other former astronauts and key Apollo mission figures, director Mark Craig charts the flight path of Cernan’s life.

Imagine the worst costume epic imaginable. Imagine no more. It exists.

It is another sumptuous visual feast from the studio, full of endless images finely detailed and often lavish.

While Eddie the Eagle feels formulaic and overstuffed with weirdly random scenes...it’s still a charmer.

Director Park Hyun-gene skillfully engineers the inevitable triumph of the heart over every kind of human foible, and — why not? — a viewer is temporarily hooked.

“Fury’s” pace is delirious, the stunts are incredible — such crashes, such explosions, such a lot of flying bodies — Hardy’s performance is a marvel of subdued conviction and Theron brings an impressive gravity to her work as Furiosa. Put it all together, and you’ve got a rousing crowd-pleaser that hits on all fast-revving cylinders.

[Hillcoat’s] an expert in creating and sustaining gut-twisting tension. Good qualities all, but used here in the service of a story that is truly unappetizing.

Where the film falters is in establishing a cohesive tone.

Rolling Papers is an instructive and fun film that will keep you giggling — high or straight.

Snowtime! is by turns ribald (there’s a flatulent dog), boisterous (there’s charging through the snow with wooden swords wildly waved), tender (there’s a boy grieving quietly for a father killed in a real war) and, yes, tragic.

Eisenstein in Guanajuato is an outrageous comic-erotic extravaganza that has more of a narrative arc than most Greenaway movies.

You leave Touched with Fire wishing there were a little more to it — the screenplay needed to flesh out Carla and Marco a bit more as people, rather than Bipolar Poets in Love — but undeniably moved.

Oddly, the film lacks any footage of Twisted Sister’s videos or hit songs, which received heavy rotation on MTV. That may be a drawback for casual fans, but the juicy details about the band’s early days make up for it.

With intelligence and great moviemaking skill, [Reynolds] has created a classic variation on a venerated ancient theme.

Eggers’ depiction of the family’s psychological decay and his relentless piling up of deeply disturbing imagery make The Witch an unnerving and fresh-feeling horror masterwork.

What the picture lacks is a certain spark. It’s a workmanlike effort that diligently covers a lot of bases...but never achieves a transcendence that befits a figure like Owens.

As with any Michael Moore movie, attention must be paid.

A mostly agreeable but empty-headed mess. It’s sort of the movie equivalent of Derek Zoolander himself.

The eye is enchanted by the richness of the picture’s spectacle.

The segments, though short, are nastily effective.

Bjorkman emphasizes the connection between Ingrid’s private and public lives, most movingly in her last film for theaters, “Autumn Sonata,” in which she and Ullmann played mother and daughter.

Martial-arts action, excitingly mounted, is all part of the package as Po battles a glowering, green-eyed bull (J.K. Simmons) and tries to whip peaceable pandakind into a fighting force to defeat the villain. One-liners fly as fast as kung-fu fisticuffs in this sweet and satisfying picture.

Ting, to her credit, is more interested in the battle between heart and head, instinct and obligation, than in what follows. “Already Tomorrow” is about ambivalence, not gratification, and is more interesting for it.