“Indian Horse,” the second feature by “Momentum” director Stephen S. Campanelli is a heart-rending tale of passion and survival.

For all their individual charms, Kumail Nanjiani and Dave Bautista lack screen chemistry in this loud, pointless and unfunny “comedy.”

In a summer glutted with tiresome sequels, the team at Pixar more than makes the argument for another “Toy Story” by combining the beloved characters and tone of the original trilogy with fresh comedic elements and new additions to the toy crew.

Talky, sophisticated and self-consciously erudite, this slice of French literary life is in many ways familiar.

Who would have guessed that a “Child’s Play” film would leave us with less popcorn-rattling jump scares and more existential questions about the role of Alexa in our lives?

Superhero Shazam first appeared in comic books nearly 80 years ago. The character has weathered a long, complicated history, rife with lawsuits and name changes. But always, his bright red suit emblazoned with a huge gold lightning bolt has remained the same. DC Comics and Warner Bros’ “Shazam!” is the first big-budget modern blockbuster for the character, and the filmmakers have stayed true to its essence – combining his childlike 1940s gee-whiz enthusiasm with a post-modern sense of irreverence, creating a film that is delightfully playful and sharply self-aware. Lovably nerdy “Chuck” star Zachary Levi packed on the muscle to play Shazam, who shares a lot of qualities with that other DC star, Superman. They both have super speed and strength, the ability to fly, a strong jaw, the same haircut and even a secret identity. But Shazam’s alter-ego doesn’t have the gravitas of Clark Kent. Rather, deep within the body of this brawny superhero lies the mind and heart of a kid, 14-year-old Billy Batson (Asher Angel).

As in “Green Book,” the emphasis is defensible in terms of dramatic development. But that doesn’t make its scenario any less irksome.

A movie as intensely subjective as “Woman at War” had better have an actress deserving of unwavering attention, and director Benedikt Erlingsson has found her in Halldora Geirharosdottir, who proves to be supremely at ease with both the physical demands of the film and its trickier internal journeys

Directed by Christian Petzold, “Transit” is, at heart, a romance, albeit a far-fetched one.

“Pet Sematary” finesses some of the bumpy narrative moments from the original, but where it forges its own path is in rewriting the daughter’s story.

Estevez’s heart is in the right place, but he has stuffed “The Public” with too many issues for a single movie, including (but not limited to) addiction, poverty, race, the environment, the death of literacy and the political machine.

This is one of director Jia Zhangke’s peak achievements: pure cinema, and a story of the underworld unlike anything you’ve seen before.

Despite the best efforts of Melissa McCarthy and a winsome Maya Rudolph, “The Happytime Murders” is more like the “Boringtime Slog.”

Jason Statham plays Jonas Taylor, a disgraced deep-sea-rescue expert who, as it is explained in a prologue, is still living down his decision to abandon several colleagues in the middle of a mission after their vessel was attacked by what Jonas claimed was a giant shark.

“Dog Days” is in some ways a very strange movie, in the way it straddles the worlds of weirdo comedy and family-friendly fare. But ultimately, it’s the pooches who steal the show.

“Blockers” suffers from ungainly, choppy pacing. It feels like a slapdash collection of scenes rather than a balloon sent smoothly aloft.

The busy Krasinski also directed, and helped produce and script.

“Oh Lucy!” has moments of comedy but shift in tone and grows increasingly dark.