Michael O'Sullivan

That existential paradox — are we all in this thing called life together, or is it every man for himself? — gives the film and its protagonists something meaty to chew on as it, and they, progress. But “The Long Walk” doesn’t dig into it in any deeply satisfying way.

The story manages to put a smile on your face from time to time, despite the gloom of its humor. It avoids happily-ever-after almost as strenuously as it works to remind us: You’re not in Hollywood, hon, but Hampden.

Beecroft’s screenplay — which the actor turned filmmaker wrote after moving in with Tabatha and Porshia, off and on, for three years — is not as strong as her visual storytelling. Some of her dialogue trips over its own bootlaces.

It’s a larky bunch of malarkey, laced with just enough moral complexity — washed down with car chases and capers — to set your own tush a-twitching.

Smurfs may be all over the multiverse, but it doesn’t land anywhere worth writing home about.

Dragon imparts these pearls of wisdom with verve and delight, in a telling that is as visually impressive as it is emotionally stirring.

Karate Kid: Legends combines the best of all those sequels plus a 2010 remake — a simple underdog tale, appealing casts and crisply filmed action — to contribute a new and worthy chapter to the canon. It’s one whose ambitions meet, and occasionally exceed, our expectations.

The message of “Deaf President Now!” comes across loud and clear: We will be heard.

The film has the whiff of easy paycheck. It looks glossy but is empty. It sheds light without gaining insight.

Too often, in a film about an ostensibly peaceful form of dissent, it feels like adversaries are being targeted, albeit subtly, when the real enemy is war itself.