David Rooney

The movie’s captivating sweetness is hard to resist, showering its love on a pint-sized human character so out of step with her kid contemporaries she has difficulty making friends. Turning around the lonely life of 8-year-old Bonnie (voiced by Scarlett Spears) becomes an urgent mission for the toys.

There are allegories that can be read about fear of the unknown breeding cruelty and exploitation, but Disclosure Day is first and foremost a propulsive yarn with thematic roots in hope, truth, empathy and perhaps even spirituality.

The actors are reduced to joke machines trapped in a nonsensical nonplot, and while some of those gags yield laughs, a far greater number fall flat.

The heart of this action-comedy that’s really a high-concept girlfriend movie is Ginger Minj and Jujubee, their characterizations in perfect sync, their rapport endearing and their triumph-of-the-underdog arc something worth rooting for.

A pileup of movie-ish improbabilities in the climactic act notwithsanding, the new film is a taut nail-biter with a strong cast.

At times, the movie veers almost into spoof territory, but it never commits to the bit enough to be anything more than a mismatched genre hybrid, despite its atmospheric visuals and strong design elements.

Regardless of its flaws, Atonement is admirable in the way it humanizes people on the opposite side of a conflict, treating their crippling losses as a source of collective pain while observing a U.S. Marine — trained to point and shoot with no consequences — as he comes to reflect on and take responsibility for his actions.

Based on a well-regarded novel by Brenda Navarro, it’s a wafty character study so stripped down and elliptical that it lacks the connective tissue to hook us into its story or provide emotional access to its characters.

Everything about the film is fussy, from the direction to the lighting and camerawork to the chiming score. It’s all so studied and lacking in teeth that it lurches into melodrama.

Sachs has not made an AIDS movie we’ve seen a million times, largely because it’s not so much a movie about death as one about wringing every last drop out of life, whether it’s fuel for creativity, love or one last surge of passion and pleasure.