Though Goodbye Christopher Robin has moments of delight and even profundity, and looks-PBS pretty, too often it stumbles.

This engagingly goofy romantic comedy speaks the international language of food.

The plot simply doesn’t have enough juice.

Thanks to the director Khan — who co-wrote the script and has an obvious fondness for her characters — The Tiger Hunter transcends comic stereotypes. But its predictable success-story arc isn’t entirely convincing.

The result is a solid if conventional bio.

For all its late-in-the-game silliness, The Exception is a solidly acted, well-told tale about how love of country holds up in the face of other, less nationalistic passions.

Still, the movie has a kind of optimism that is reflected in the new generation of English thespians in its young cast: Imrie is the son of actress Celia Imrie, and Serkis is the son of actor and filmmaker Andy Serkis.

Winds up being giddily entertaining, first as an exercise in so-bad-it’s-funny kitsch, and ultimately as something far more meaningful and thrilling. Every now and then, a film comes along that defies the demands of taste, formal sophistication, even artistic honesty to succeed simply on the level of pure, inexplicable pleasure. Bohemian Rhapsody is just that cinematic unicorn: the bad movie that works, even when it shouldn’t.

The uneven tone especially undermines the ending — one that’s as tragic as it is predictable. Viewers may expect — even crave — to feel an emotional impact, but the movie hasn’t laid the groundwork.

Happy End, for its part, signals a return to form for the director, who here makes a stark departure from the sweet tone of “Amour” — perhaps his most mainstream work — in favor of the vinegary outlook on life manifested in such films as “Funny Games,” his 2007 horror movie about violently psychopathic home invaders, and “The White Ribbon,” his 2009 pre-World War I period piece about, among other things, child abuse.

Hogancamp was a talented illustrator before the attack rendered him unable to draw. In retreating to a world of his imagination as a way to exorcise the demons that tormented him, he ended up creating real art. I’m not sure Zemeckis’s achievement rises to the same level, but this cinematic excursion to Marwen is almost certainly a trip to someplace you haven’t been before.

Autism aside, writer-director Rachel Israel’s debut film is a fairly typical, low-budget New York romance, complete with an excursion to Coney Island. What distinguishes it are Israel’s empathetic characterizations — she’s known Polansky for 15 years — and the winning performances, not only by the leads but also by the supporting players.

Defiantly inscrutable, Woodshock can test a viewer’s patience, yet the filmmakers’ consistent self-confidence creates an alluring, oddly hypnotic effect.

The movie often undercuts itself by spelling things out rather than hinting at them, belaboring emotions and ideas to ensure that the audience understands what the characters are feeling and thinking.

Unfortunately, Desplechin stuffs too many subplots into the film, diminishing the power of his central conceit — that our most persistent ghosts are the living whom we’ve failed.

Setting the film in the punk heyday underscores the film’s themes of personal freedom and defying authority. And there are heartwarming touches, despite a plot that is muddied by sci-fi mumbo-jumbo about cannibalism.

For all the story’s cosmic echoes across the ages, the pacing just feels off. Still, the approach is inventive.

Visually captivating even when it’s narratively uneven.

Blade goes for the carotid while offering a classic look and a comic-book story. It’s part Kurosawa, part “X-Men,” part “Ichi the Killer.”

In some ways, My Friend Dahmer is a typical coming-of-age movie about an awkward teen. What distinguishes this particular case of adolescent angst is that it’s the true story of serial killer Jeffrey Dahmer.

Quirky to a fault, the film’s most absurd moments are nevertheless grounded by the human need for connection.

The Angry Birds Movie 2 is not great cinema. But the animated sequel — inspired by the popular Angry Birds games, available on mobile devices and other platforms — goes above and beyond what is to be expected from such things.

What little dancing we do see is lovely to watch, but it’s also lovely to see a performer who once seemed to have an iron grip on the barre finally learn how to be gracious and let go.

Stewart’s unexpected casting here, in a frothy action comedy, injects the movie with a shot of much-needed unpredictability. Of all the Angels, she works the hardest, ensuring that the movie isn’t forgettable.

The movie’s most piercing barbs are left for the tech world and the inevitability that our phones will make zombies of us all. Does that make the Boss Baby franchise a bold cinematic bet? Not exactly. But as a safe play for parents and kids alike, it’s tough to complain about the return on your investment.

Both simplistic and overcomplicated, Us depends on some of horror’s most hackneyed cliches and gaps in logic — by now, shouldn’t all movie characters know never to go back into the house and to always stay together? — as well as a few windy speeches explaining why bizarre things keep happening. The viewer begins to wish that Peele had given his script one more pass, either to pare it down or beef it up.

As the wily leader of the Japanese forces, grizzled Kurata Yasuaki has more presence than Zhao, who’s bland in non-action sequences. But Zhao’s ability to deliver dialogue is less crucial than his skill at leading hundreds of extras through elegantly choreographed, sumptuously photographed chaos.

Moka is a stark, moody mystery that doesn’t actually contain much mystery. Instead, it excels as a character study and a dynamic face-off between two formidable actresses: Emmanuelle Devos and Nathalie Baye.