Manohla Dargis

It’s fine, pretty and amusing, but if no one’s heart seems in it, perhaps it’s time to make way for other toys.

Steven Spielberg’s Disclosure Day is one of those movies that sweeps you up from the start and rarely lets you down.

This is that rare movie that could do with a longer running time, which would, perhaps, give it greater depth.

There are some promising themes in “Power Ballad” — the soulful joys of collaboration, the precarity of celebrity, the evils of the music industry — but the movie never develops them. Instead, the director John Carney, who wrote the script with Peter McDonald, keeps everything nice and insistently light, gesturing at complexities rather than delving into them.

Like the first movie, the second is a sleek diversion with brittle and sharp laughs, truckloads of couture threads and lashings of light drama.

Jones has turned a life into a hackneyed survivor’s story with cartoon villains, cardboard saints, pretty scenery, mewling piano notes and expedient, drama-goosing epiphanies.

The downer here is that Lowery doesn’t seem to know what to do with his stars, performers who are never better than when they’re just doing what they do best — you know, acting.

Exit 8 is a pip and as fun to watch as it is to mull over.

Alas, Tereza, whose interior life remains largely obscured from start to finish, isn’t a compelling vessel for whatever Mascaro is trying to do in this movie. And, as it drifts from one place to another, one encounter to another, one sketchy idea to another, so may your attention.

Zendaya and Pattinson are both enjoyable to watch, but she’s given too little to do and he’s given too much.