Jen Yamato

We’re left with a nightmare of identity that feels slighter than it should, unsure of where to point its knife.

A sneaky tale of savagery in the dehumanizing digital age, writer-director Kiyoshi Kurosawa’s “Cloud” is as bleak a warning as you’ll find in theaters this year, cautioning against the corrosive combination of late capitalism, the internet and human nature.

The script by Nick Lepard never quite figures out how to fill its 98-minute run time with new cat-and-mouse (or shark-and-marlin, as Tucker dubs her) twists, and “Dangerous Animals” loses steam treading familiar trope-filled waters en route to an oddly mawkish ending.

Despite a snoozer of a pat ending that strains to bring its themes full circle, the live-action iteration at least proves that the franchise, with its notion of ohana and several films, spin-off series and countless plushies sold to date, hasn’t lost all its heft — just its original spark.

The film also suffers from erratic pacing and half-baked reveals, but at its best, it throbs with raw, human, horrific honesty.

The Amateur may be off to a rocky start as a spy franchise, but it scores one for the IT crowd.

Even with a gimmick engineered to orchestrate endless bursts of Looney Tunes-style hyperviolence, “Novocaine” lives up to its name, all right — a tedious action-comedy so numbingly bland, you feel the pain of its 110-minute run time even as its protagonist can’t feel a thing.

It’s an affectionate finale for the character, crafted with such care — from Molly Emma Rowe’s costumes to Kave Quinn’s thoughtful production design to those signature needle drops, monologues and Bridget-isms — it’s a shame “Mad About the Boy” isn’t opening in U.S. theaters.

As the tropes pile up faster than tears in a Nicholas Sparks novel, so do the bodies, dispatched in increasingly inventive and grisly ways.

Anderson is radiant playing this daffy optimist who rambles in breathy clips about past glories, as if the world around her hasn’t moved on since the days of Siegfried & Roy.