A mixed bag of a thriller that exploits two primal fears—of artificial intelligence, and precocious children.

Everything in The Light Between Oceans is deeply felt and dramatically precise, in a way that seems destined to become profoundly personal for each and every viewer.

The upshot is an emotionally satisfying fusion of the mixed up and the magical.

There’s much amusement to be had in the film. Very little of it stupid.

Jakubowicz has made a muscular, messy and vulgar film based on a life that has been all those things.

Mr. Herzog’s film may not be a model of organization, but I loved every meandering minute.

The first and last things to be said in this limited space about Kubo and the Two Strings are that it’s a showcase for some of the most startlingly beautiful animation in recent — and not so recent — memory.

By turns funny, elegiac and thrilling, it’s a tale of brotherhood and family that takes in the harsh beauty of the land, the elusive nature of right and wrong and the quirky delights of human connections in a time of bewildering change.

A bad movie with a good title.

Mr. Lowery is very good with actors, and he lets much of his film unfold at a pace that may, in these frenzied times, seem rather leisurely. I thought the pace was fine, and admired him for giving his characters time to breathe. Elliott breathes fire, and the film around him breathes humanity.

The movie is a pleaser, for the most part, even though the attitude it takes toward its subject is often problematic.

It’s a paradox, then, as well as a pity, that the film loses its way at precisely the point when the new story starts to merge with the old one, and the Little Girl meets a character called Mr. Prince.

I was riveted by the performance of Paulina García, the great Chilean actress who plays Tony’s beleaguered mother. To watch her is to see exactly how less can be more. Instead of acting, she allows her character to reveal her thoughts in words that are all the more powerful for being few, far between and softly spoken.

In a word, Suicide Squad is trash. In two words, it’s ugly trash.

Indignation is very much the sort of venture Mr. Schamus has often championed as a producer — ambitious and provocative, a must-see for anyone who cares about independent film.

Gleason is so powerful in its cumulative effect that it should be accompanied by a consumer advisory — something along the lines of “This documentary may cause sudden alterations of mood and attitude.”

Bourne used to be an anguished amnesiac. Now he remembers who he is, but this fourth episode of the franchise forgot to make him human.

Don’t Think Twice really shines as an improv procedural, a film that celebrates, in illuminating detail, the skills and anxieties of this showbiz subgenre.

This one, a debut feature, is awfully inept, whereas the short isn’t long enough for ineptitude to take hold, or for a story to develop.

Star Trek Beyond is better than not-bad. By any earthly standard it’s good.

If you’re looking for something to lift you up and take you away from the tumult and anguish of the moment, seek out Our Little Sister, a lovely new film, in Japanese with English subtitles, that’s going into national distribution this week.

The whole film feels charmingly insubstantial, just as it’s meant to, with beautiful settings, amusing people and, for philosophical context, a classic Woody Allen one-liner: “Socrates said the unexamined life is not worth living, but the examined life is no bargain.”

Untold billions are laundered in The Infiltrator, while Pablo Escobar’s Medellín cartel moves mountains of cocaine into U.S. markets. But the drug of choice here is acting, and the highs in this hurtling, often violent thriller are doubly intense, since two of its stars play flamboyant double roles.

Silly is endangered these days, and normal has come under withering fire from stupendous, yet tedious, visual effects. Busting ghosts used to be a lot more fun.

There’s no secret life because there’s no life, only the promise of pets in perpetual motion.

You’ll want to see Zero Days — just not when you’re counting on a good night’s sleep a few hours later. Alex Gibney’s documentary about cyberwarfare is many things, none of them lulling: a thriller, a detective procedural, a startling chronicle of science fiction transformed into fact, and an urgent plea for public discussion of a new way of waging war that could wreak havoc on a scale akin to that of nuclear weapons.

Ben is the family’s rock, and Mr. Mortensen gives the story unshakable grounding. He’s a star who doesn’t act like a star, yet everyone in his orbit feels his power. He and this strong, adventurous film deserve each other.

The BFG has fizz to spare. It’s an effervescent charmer.