The Associated Press

But, like the film, it’s the quieter, foreboding moments of [Cruise's] performance that stick with you.

Forgotten Island is a movie about forgetting as much as it is about remembering and you’ll likely walk out wanting to text your bestie, asap. Do it. Let a sand dollar reconnect you.

The movie is always sitting in judgment of its characters — not an unfair perspective, by any means, but not one prone to three-dimensionality.

It never strays far from the formula, but while often predictable, occasionally implausible and sometimes even straight propaganda, it’s an effectively thrilling adventure and Pitt can shed a tear (actually, many) like the best of them.

It is very much a “dad movie,” which isn’t, in this case, a bad or even limiting thing. More than a few people have compared it to something Clint Eastwood might have done at some point — just a solid, hearty, meat-and-potatoes kind of movie.

Rarely is it more clear that humor is a key asset to a horror film than in Zach Cregger’s highly entertaining survival-horror, zombie-infestation tale, and luckily Abrams is up to the task. Appealing but not cutesy, scruffy but charming, and basically genuine and kind, his Bryan is the perfect Everyman — a medical courier who somehow ends up as one of the only humans in a world of oozing tentacle monsters.

Practical Magic 2 lacks the moments of pure fun — like Bullock asking PTA moms to form a coven or Kidman telling neighbors to hang onto their husbands when she’s back in town — that made the original film’s darker moments more admissible.

The CGI in “Hope” won’t win any awards. And the movie is overlong, sapping some of its momentum. But it is often thrillingly shape-shifting: a gloriously unwieldy spectacle that fuses monster movie and science fiction into a blistering and bonkers saga of otherness — human and otherwise.

A morose Robin Hood is not what we want in 2026, especially a second one following Hugh Jackman’s “The Death of Robin Hood.” Greengrass has quite simply robbed his own movie. We did not come for this.

Bratton and scriptwriter Sascha Penn artfully straddle the various divides and historical animosities while delivering a propulsive, muscular and unvarnished action thriller, a sort of “Mississippi Burning” for a new generation.