Neither poignant nor eccentric, this just feels like a lesser 1970s Disney live-action comedy smothered in digital effects.

This new DC entry has a lovely lightness, both in the visuals and in its tone.

Skid Row Marathon is a light-hearted attempt to show a softer side of a pressing issue. While the film will no doubt inspire some, it lacks an understanding of the real issues that exist in that environment. It becomes part of the system that proclaims that homelessness is a problem, but it does nothing to say why.

Dragged Across Concrete is not a terrible movie, but it’s not so good that Zahler shouldn’t get dragged for it.

Maybe the best thing I can say about Hotel Mumbai is that I kept waiting for it to become “Die Hard,” and it thankfully never did.

At its best, Out of Blue captures a slightly intoxicated “eureka” sensation, as the whole detective genre transforms elegantly into a philosophical awakening, and as the greatest threat comes not from a murderer but from our protagonist’s sense of self (or lack thereof). At its worst, which is most of the time, it’s a conventional detective story that resorts to lengthy scientific-namedropping when it probably should be getting on with it instead.

A film like this is always a major accomplishment, so it feels like a cognitive disconnect when the actual story it tells seems so light and benign.

Its terrifying story about death still leaves audiences with much to think about long after the credits roll, and the twists that lead to a new ending are fun to follow. Thirty years after the original movie frightened audiences, its source material has given new life to one of the best Stephen King adaptations in the past decade.

The Day Shall Come is greatest when skewering power and shining a light on grave legal overreach. That we can laugh about it is great, but it’s a sign of our own security, of how unlikely we feel that we would be targeted in the same way. For others, laughing at this movie may not be so easy.

The horses magnificently do their part, too, as co-stars in this redemption saga, mostly because de Clermont-Tonnerre gives them plenty of screen time to be irritable, sad, manic, desperate, but also begrudging, friendly, spirited, and at peace.

Lacking poignancy at every level, what could have been a moderately exciting, if unoriginal, occupation thriller instead becomes a muddled and dispirited disappointment from the director who once earned high praise for “Rise of the Planet of the Apes.”

There’s no question that Elba is a talented actor, but his debut on the other side of the lens falls a bit short. Director needs to make decisions to get a story across, and Elba appears to have been too shy or too reluctant to make them. Yardie suffers for it.

The Hummingbird Project is most of a great movie. Amiable performances and a deft pace combine with high-contrast storytelling, and the results are generally engaging. Sometimes funny, sometimes smart, always watchable. But perhaps the film’s dedication to turning a clever tale into something profound was a miscalculation. Perhaps there were simply better ways to spend the time.

With his latest, the crime romance Ash is Purest White — once again spotlighting a superb performance by his longtime creative partner and wife Zhao Tao — Jia’s vision makes for a heady brew of love, loss, and loneliness over three time frames that coincide with huge changes in China.

Cutting through the thick curtain of recycled lovey-dovey remarks and the proficiently dull craftsmanship of the production, Richardson’s radiant charisma acts as a lifeline. One would be hard-pressed to find a moment where she is not earnestly committed to the role’s convincingly bittersweet shtick.

Good Boys is a snappy comedy that pokes fun at those painful pubescent years and, by the credits, grows up into a somewhat mature comedy about friendship.

Instead of an instant classic, we get a noble effort. We need more of those. This is a bright and earnest attempt to craft an on-screen fantasy for modern kids, with a practical moral that anyone could appreciate.

It’s a magnificently unflinching film from a master director in the making, whose thunderous strength will surely make waves in Bustamante’s Central American homeland and abroad.

Chandor’s film isn’t malleable enough to fit into the moral grey zones into which it ventures; it’s too battle-hardened for that. But it’s an ambitious and absorbing above-average thriller with something deeper on its mind, making this sometimes somber journey worthwhile.

Booksmart is, by far, one of the most perfect coming-of-age comedies I have ever seen.

Marshall-Green’s directorial debut is an intriguing story centered on a flawed protagonist, and with more polishing in the second half of the film it could have really sailed.

Nancy Drew and the Hidden Staircase is clearly made by people who have thought through the material and tried to make it enjoyable and palatable, but the set-up at the end for further sequels feels a little too hopeful.

Even with a completely unrealistic premise, and a handful of trope problems, Long Shot is still charming enough to bring the laughs, the escapism, and the twitterpation that any great romantic comedy can provide.

The performances are uniformly fantastic, but I was most impressed by Wright Joseph and Nyong’o, both delivering distinct and completely unique work. Nyong’o gives a master class in acting in dual roles and is almost unrecognizable as her doppelgänger persona.

The Kid simultaneously wants to humanize and mythologize its cowboys — and neither effort works.

The lead performances are so genuine and the dialogue, with tones ranging from unbridled glee to utter hatred, is so pure that you think at times that you’re watching a documentary. Babylon is a vivid, though flawed, story that offers no clear villains or angels. Instead, it gives you the truth.

Captain Marvel, the first Marvel adaptation both to star a woman and to be co-directed by a woman, is an obvious, crude, and transparent film. And it’s also quite enjoyable and evocative — most of the time.

If writer-director-star Tyler Perry makes good on his threat to make A Madea Family Funeral the final film featuring his larger-than-life comedic heroine, then Madea will going out with a whimper and not with a bang, even by Perry standards.