Kyle Smith

Flag Day may train its cameras on a small town, but its vision is expansive.

As attempted profundity, this doesn’t quite land, and neither does much else. Mr. Spielberg combined fairy tale with sci-fi beautifully in his 2001 masterpiece, A.I.: Artificial Intelligence. Disclosure Day is underwhelming when it tries to do the same.

Best to keep in mind that the whole franchise exists not to advance the craft of storytelling but the magic of merchandising. Forget it, friends, it’s Toytown.

Backrooms may not be a fully explained wonder but it’s well worth the wander.

Mr. Carney steers things back in a more pleasing direction in the end, but for a light comedy, “Power Ballad” contains far too much perplexed agony.

The cast’s choices are like weather-balloon data that presage the disaster of the movie’s climax, when everyone behaves like an emotionally incontinent millennial.

The movie takes on some formulaic thriller trappings in its final act, relying too heavily on strained coincidences. So its second half is more conventional and less grounded than its first. What both halves have in abundance, however, is Mr. Woodall’s unforced charm. He strikes every chord like a virtuoso, and he’s going to be a major player in the movies.

Director Jon Favreau’s film, which he wrote with Dave Filoni and Noah Kloor, features a grindingly simple plot that provides the weakest possible pretext to staple together a series of uninspired monster and droid fights.

Minus the flash, the neon, the tailoring and the quipping, LifeHack is a kind of Ocean’s Eleven for Gen Z: a breathless, ingenious caper that moves at about 200 megabits per second.

Considering the gravity of the subject, and its immense potential, “The Wizard of the Kremlin” is not just a letdown, but something more like an insult. The film will do less damage to Mr. Putin’s reputation than to those of Mr. Assayas, Mr. Law and Mr. Dano.