Boots Riley holds nothing back in his audacious, surrealist social satire “I Love Boosters.” The film is a go-for-broke expression of wild imagination and social consciousness that’s impossible not to admire for its wacky, bold vision, with teleporting, high fashion snobbery and pyramid schemes.

Here is a movie where we get Keke Palmer, Naomi Ackie and Taylour Paige leading a vigilante shoplifting operation, Demi Moore as a toxic girl boss, Don Cheadle as a sleazy lifestyle evangelist, Will Poulter as a fussy store manager and LaKeith Stanfield as a discount brand model with a strange accent and a hypnotizing stare. It sounds like fun, right? Like a raucous, madcap ride through the inequities of the fashion business from the executive suite, down to the retail store where the goods are sold and the Chinese factories where they’re made? And on a certain level it is all of that, but one thing it is not is very funny. “I Love Boosters” can be amusing and clever, but the laugh-out-loud comedy just isn’t quite there. And it doesn’t help that the film goes more off the rails as it progresses to a climax that is less rousing than mind-numbing.

The thing is, “I Love Boosters” does start on a strong, albeit minor key as we’re introduced to the Velvet Gang, Corvette (Palmer), Sade (Ackie) and Mariah (Paige) and their booster operation, stealing overpriced designer wares from high end stores and selling them for a steep discount on the street. There’s a kind of a Robin Hood sensibility to it all. Mariah calls it “Triple F,” or “Fashion Forward Filanthropy.” She knows how to spell philanthropy, she deadpans; This is branding.

But despite the colorful surroundings, there’s a pervasive hopelessness in this off-kilter world that looks a lot like our own. Corvette, particularly, feels outside of it all, as a woman who dreams of being a designer herself but is currently squatting in a closed fast food chicken shop and being haunted by a boulder of debt (like, literally). It doesn’t help that the founder she idolizes, Moore’s Christie Smith, has become obsessed with stopping the boosters. To Christie, a genius megalomaniac, they’re the big problem with her business and not the fact that her store employees are being paid a pittance and her factory employees even less. The people who work at the factories are also getting sick from sandblasting the denim. And yes, these are all real things.

Eiza González’s vaping Violeta becomes the face of the store employees forced to use their own paychecks to buy their uniforms. Poppy Liu’s Jianhu, who teleports herself from China to the Bay Area, is that for the factory workers. This oddball group of five women band together to get revenge against Christie. Again, this all sounds like it should be a fun time, but the film is too busy jumping around and throwing ideas and concepts at the screen (teleporting somehow the least distracting of them) for us to spend much time just hanging out with these vibrant personalities.

It is a crime that this is only Riley’s second produced movie. Though it might not reach the crackling heights of his debut, “Sorry to Bother You,” his imagination is still on fire. Unlike so much of what’s out there, “I Love Boosters” has both style and substance, which is worth something even if it doesn’t land perfectly (or capably inspire any kind of revolution). In a marketplace full of content and franchises, here is a filmmaker with something to say and an interesting way to say it.

“I Love Boosters,” a Neon release in theaters Friday, is rated R by the Motion Picture Association for “strong sexual content, brief drug use, nudity and language throughout.” Running time: 115 minutes. Two and a half stars out of four.

For years, author Tom Clancy’s Jack Ryan character was a fixture of the multiplex, with movies providing reluctant-leading-man-of-action opportunities for Alec Baldwin, Harrison Ford, Ben Affleck and Chris Pine. Most of them were hits. (Sorry, Chris!) In that context, it might seem a little low-rent that the newest character’s newest adventure, Jack Ryan: Ghost War, is actually a made-for-streaming continuation of an Amazon TV series, where John Krasinski takes over the CIA analyst role. But there are potential advantages to this approach, too: four seasons of the show can establish the character and his world, relieving the movie version of the full reboot burden. (No small thing for a familiar character who’s nonetheless been played by five different guys.) In particular, the existence of the hit show eliminates the standard waffling over what stage of Ryan’s career he should start in. Let the TV show handle the salad-days stuff, and the movie can join him mid-career without requiring several box office successes to get there.

And to its credit, Jack Ryan: Ghost War manages to stand alone quite well despite the preceding 30 episodes of set-up. (I certainly don’t remember them all with crystal clarity, and I was never lost on a plot level.) Less fortuitously, it’s more coherent than competent, especially compared with the previous movie versions. That might not seem like a fair fight, but Ghost War does position itself as some kind of movie after four seasons of serialized television; there must be some reason for this new framework, whether it’s a bigger budget, a more pulse-pounding story or a chance to put Krasinski alongside his predecessors. (He’s already played Ryan for more hours than any of them.) By the end of its 105 minutes, though, the movie seems to eliminate the most obvious possibilities, and its reason for being hangs in the air.

Ghost War rejoins Ryan, who has quit the CIA and landed a job with a hedge fund, hoping for a shot at the normal life his cloak-and-dagger past has denied him. (His normal life apparently must involve unfathomable wealth.) Then his old boss James Greer (Wendell Pierce), deputy director of the CIA, resurfaces to ask Ryan for a minor favor during an upcoming business trip to Dubai. But a quick (if elusively described) meet and drop-off becomes more complicated when the other guy is murdered mere feet away from Ryan. Soon the ex-agent and his former colleague/current contractor Mike November (Michael Kelly) are tenuously joining forces with MI6 agent Emma Marlow (Sienna Miller), tracking a plot to reactivate terrorist groups.

A plot to reactivate terrorist groups could also describe Jack Ryan: Ghost War. Obviously terrorism still exists, but there’s something about this movie’s geopolitical outlook that feels firmly rooted in the late 2000s, when 9/11 was still a relatively recent world event and countless government norms remained in place, no matter how morally murky foreign policy might get. Ryan’s questioning of the American dream, which is more or less how he puts it in a howler of an argument he has with Greer, focuses almost entirely on shady international affairs, in the vaguest and most fictionalized terms possible. The harder the movie ignores political realities of the 2020s, the more it feels like a period piece drifting through the ether.

Krasinski has a greater degree of accountability for the bad speeches than past Ryans; he’s the first actor to play Jack Ryan from a script he co-wrote. It’s dire stuff, especially considering the decent work he did on those Quiet Place movies; here, there are no less than three lines predicated on the phrases “that’s a thing” or “that’s not a thing”, dialogue that wouldn’t pass muster in a sitcom or a Marvel movie, let alone something aiming for more substantial gravity. If it seems like four seasons of TV would be more than enough time to work out feeble jokes about espionage earpiece etiquette, think again. Ryan has been variously played as gruff, nerdy, charming, self-righteous and slick. Krasinski is the first actor to make him look like a smug lightweight. (Yes, Pine’s underseen version was vastly more likable.)

Surely Ghost War must at least work as a bigger-canvas action movie, then? Not really. There’s a moderately entertaining car chase and some high-volume shootouts, and director Andrew Bernstein certainly keeps it all moving along at a pace. But the film’s thrills are sadly limited and small-screen-y, with only flashes of globe-hopping intrigue. The big climax takes place in an anonymous-looking skyscraper under construction, which beats the green-screened anti-locations of a few early scenes, but not by much. Diehard fans of the show might find more enjoyment in seeing Krasinski, Pierce, Kelly and Betty Gabriel back again, or adding the believably hard-bitten Miller to the mix. The movie does set up potential for a continuing movie franchise. Mostly, though, Jack Ryan: Ghost War feels like a sad state of affairs for the world’s dads (and dads at heart), who deserve to see airport-novel espionage brought to less chintzy life.

Gracie Cochrane won’t be enrolling in Hogwarts this fall.

HBO announced that Cochrane will depart the upcoming “Harry Potter” series ahead of Season 2. Cochrane played Ron Weasley’s (Alastair Stout) younger sister, Ginny, in “Harry Potter and the Philosopher’s Stone.” Cochrane and her family attributed the “challenging decision” to “unforeseen circumstances.”

“Her time as part of the ‘Harry Potter’ world has been truly wonderful, and she is deeply grateful to [casting director] Lucy Bevan and the entire production team for creating such an unforgettable experience,” the Cochrane family said in a statement. “Gracie is very excited about the opportunities her future holds.”

HBO said they “wish Gracie and her family the best.”

“We support Gracie Cochrane and her family’s decision not to return for the next season of HBO’s ‘Harry Potter’ series, and we are grateful for her work on season one of the show,” HBO wrote in a statement.

The HBO series was greenlit for a second season in early May, months ahead of its Christmas Day premiere later this year. If the sophomore season follows J.K. Rowling’s second book, “Harry Potter and the Chamber of Secrets” (the first season is adapted from the first novel), Ginny will begin her first year at Hogwarts in Season 2.

Cochrane was cast following a massive undertaking by HBO to find young actors for the show. HBO reviewed more than 32,000 auditions before selecting Dominic McLaughlin to play the boy who lived. The cast was filled out with West End performers, like Arabella Stanton (Hermione Granger), first-time actors like Amos Kitson (Dudley Dursley) and longtime stars including John Lithgow, who will play Albus Dumbledore.

HBO Chairman Casey Bloys explained that they expected a lot of “interest” in the cast because of the cultural prominence of the “Harry Potter” franchise.

“Interest can tip over into more unpleasant and aggressive behavior,” Bloys told Deadline, alluding to racist backlash over the casting of Paapa Essiedu as Professor Snape. “We talked to them about what to expect … but any kind of security that’s needed is an unfortunate aspect of doing IP shows. We just try to be mindful and monitor it.”

In March, HBO released its first trailer for the show, which included a peek at the redheaded Weasley family saying goodbye to Ron at Platform 9¾ before he boarded the Hogwarts Express. The trailer also teased Harry’s acceptance letter from Hogwarts and his wand and Nimbus broom.