The Associated Press

It is a terrific platform for Wilde, who as an actor Hollywood never quite knew how to use properly. Often, the movies just wanted her to be hot, ignoring her obvious intelligence and comedic prowess. Araki’s film figures out how to use all her qualities in wildly entertaining fashion.

In “Tony,” the world-weary, forever romantic, noodle-slurping Bourdain that we would fall in love with decades later via travel shows like “Parts Unknown” stays firmly out of grasp. What’s perhaps most frustrating is that this could have been a fine movie without Bourdain at its center at all. Who doesn’t like a good coming of age? Why did it have to be Bourdain if Bourdain never gets to be Bourdain?

After a quarter-century worth of movies, “Spider-Man” still has surprises up its sleeve.

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.

In one version of the world it could have been “The Cutting Edge.” But “The Dink” chose the grounded, goofy route, with memorably eccentric characters and a few high profile cameos that add up to an enjoyable watch.

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 only thing this movie takes seriously is its wholehearted commitment to absurdity. No idea is too dumb to explore, sometimes twice. Even when the jokes don’t land, there is still a kind of joy in it all. When

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.

To be fair, there are some great set pieces.

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.