“Wonder Woman” is a fun movie, and a significant achievement in the fight for gender equality in filmmaking, but it’s also hackneyed and unremarkable as a movie. Social relevance isn’t the same as interesting filmmaking.

“Dead Men Tell No Tales” isn’t bad, but it’s a great big messy casserole of a movie, both overstuffed to the point of confusion and irritatingly dumbed down.

“The Lost City of Z” begins as a straightforward biopic but blossoms over its relatively quick 141 minutes into something grand and quixotic and surprisingly poignant.

“The Circle” had a golden opportunity to comment seriously on the deterioration of privacy in the internet age, but instead the movie recklessly and infuriatingly goes to bat for Big Brother.

An overqualified cast brings a surprising amount of flair and subtlety to “Going in Style,” making it far better than it could (or should) have been.

“Personal Shopper” suffers from Olivier Assayas’ inconsistent script and uneven directing, but when he indulges his horror movie instincts, it’s impossible to look away.

With such high production value, who cares if “Beauty and the Beast” is actually any good?

Jordan Peele’s directorial debut is a remarkable juggling act that manages to balance slow-burning terror with a versatile treatment of racial themes.

The second half of “Hacksaw Ridge” contains the most viscerally exciting cinematic battle sequences since “Saving Private Ryan,” making it clear that the discussions of morality and violence in the movie’s first half are mere posturing. Mel Gibson knows you’re only watching for the bloody bits.

A feel-good movie from the start, “Hidden Figures” traffics in familiar tropes and cliches. The novelty of the movie, though, is that it expresses the impact of these recognizable plot points on black women; representation matters.