Jake Coyle

But, like the film, it’s the quieter, foreboding moments of [Cruise's] performance that stick with you.

The movie is always sitting in judgment of its characters — not an unfair perspective, by any means, but not one prone to three-dimensionality.

The CGI in “Hope” won’t win any awards. And the movie is overlong, sapping some of its momentum. But it is often thrillingly shape-shifting: a gloriously unwieldy spectacle that fuses monster movie and science fiction into a blistering and bonkers saga of otherness — human and otherwise.

Even though “Onslaught” begins with a clock that’s already ticking below 12 hours, the movie takes its time leading to a bloody finale that isn’t quite worth the drumbeat. But Wingard is in no great hurry, and he lingers in the anticipation, for both better and worse.

It adds up to a gonzo good time that gives an old-school family adventure a darker, modern spin. Mitchell has quickly made suburbia his evident domain, where “it,” or something else, is sure to follow.

So “One Night Only” isn’t bawdy or trenchant enough for its concept or quite sweet enough for its romance. It’s more successful as a meta comedy about a pair of charismatic Hollywood stars reckoning with their onscreen sex appeal.

The movie is a just-sly-enough commentary on Hart’s own comic tastes clashing with more contemporary sensibilities. That knowingness doesn’t necessarily save 72 Hours from the kind of fill-in-the-blanks hijinks of broad comedies you’d expect.

Nolan’s “Odyssey” is nearly three hours long but never slow going. And it’s the friction between past and present that propels the movie as much as Odysseus’ wayward path.

The new “Moana” is an often shot-for-shot, note-for-note remake of the original, with small pockets of new material. This is understandable, to a certain degree. The songs are still great. Catherine Lagaʻaia, who plays Moana, sings beautifully. The ocean, in digital splendor, is even bluer. But all inventiveness has gone out to sea.

Director Philip Barantini, while unable to gamely juggle the disparate plot elements, keeps things amiably brisk. The Malta setting and the movie’s “merry mess” make for a fine backdrop for Brown’s continuing evolution as a charming big, or small, screen presence.