“The Greatest Showman” shouldn’t work, it doesn’t work. But damn it if I totally didn’t spend the workday following my viewing humming all of the songs in my cubicle.

Summer is well underway for 17-year-old Elio, something of a musical prodigy who lives with loving parents. Dad invites his latest grad student, Oliver, to stay with them for six weeks. Initially annoyed with one another, the two spark a passionate love affair.

With “Coco,” the animators at Pixar have brought their warmth and character-grounded spectacle to the undead with a fervor that far outweighs many of the studio’s previous masterpieces.

For all the weighty topics it covers and ideas of the good and evil that lie within all of us, even the most noble, the greatest fault of “Roman J. Israel, Esq.” is how unfathomably safe it is.

“God’s Own Country” is unexpected in its charm and deliberate in the way it ultimately captures your heart with characters and locations that feel just tangible enough without stripping them of that movie-magic sheen.

The undeniable charm of Taron Egerton, Mark Strong, Colin Firth and Pedro Pascal, along with the sinister sweetness of Julianne Moore’s baddie or even Channing Tatum dancing in cowboy boots, can’t quite save this ugly and bloated sequel.

Director Gillian Robespierre and actress Jenny Slate team up again (after 2014’s perfect “Obvious Child”) with a period piece centered on a look at sisterhood that is both aggressively frustrating and wholly endearing in its authenticity.

Triumph is simply survival in Christopher Nolan’s latest, blistering film, “Dunkirk,” which follows characters in three World War II narratives in a script that intersects when you least expect it – a mighty example of storytelling and the power of atmosphere.

There’s a lot of baggage that comes along with the release of director Jon Watts’ “Spider-Man: Homecoming,” the third iteration of the character onscreen in 15 years. Despite it all, this the film is an absolute delight.

In Ridley Scott’s followup to the divisive 2012 “Prometheus,” a prequel to the much-lauded “Alien,” he attempts merging the two films’ polarizing sensibilities with awkward results, making for an experience that’s restlessly soulless, predictable and frustratingly dumb.