There are moments Child’s Play feels like the Jackson Pollock painting of modern-day horror remakes, and I can’t help but imagine Klevberg and Smith throwing general ideas, plot developments and various character interactions at a blank canvas as if they were swatches of paint.

Loosely born from co-writer/star Jimmie Fails’ own life experiences, The Last Black Man in San Francisco is at times a broad comedy, at others a searing social commentary, and in many instances a bracingly tragic melodrama

I do hope Toy Story 4 is the last of the series, if only because the bow it puts on Woody’s four-film expedition is tied with such loving perfection I have trouble imagining the filmmakers could ever do better than what they miraculously accomplish here.

But it’s all haphazardly thrown together and never coherently focused, Jarmusch allowing The Dead Don’t Die to have a disheveled lackadaisical momentum that’s too nondescript to resonate and too messily pieced together for events to emotionally matter.

At almost two full hours, Men in Black: International trudges along with almost no interest in getting to its destination with anything approaching haste.

This latest effort to carry the Shaft name isn’t unwatchable but it equally isn’t worthy of a look, either, all of which makes shutting my mouth about its various missteps and shortcomings impossible to do.

Like the character she portrays rules her evening talk show, Thompson towers over this movie with a stunning magnificence that’s extraordinary, and when I watch Late Night again in the future I will do so entirely because of her.

The Secret Life of Pets 2 improves upon the first film in every conceivable way in my opinion, unleashing a trio of beguiling little stories that kids of all ages are almost certain to find enjoyable.

While lacking in the same kind of ingenious magic that helped allow the original to stand the test of time, this new Aladdin still has a few winning tricks up its sleeve making it worthy of a look.