In 2017, the film “Wonder” was a surprise critical and commercial hit for Lionsgate. Adapted from a children’s novel by R.J. Palacio, the film starred Jacob Tremblay as young Auggie, a boy with the facial deformities of Treacher Collins syndrome who teaches his family and peers about the importance of kindness. (Julia Roberts and Owen Wilson co-starred as his parents.) Naturally, a sequel, adapted from one of Palacio’s “Wonder” spinoff books, was quickly green-lighted by the studio.

It’s now been seven years since “Wonder” came out, and the long-awaited sequel, “White Bird: A Wonder Story,” which has been plagued by delays both pandemic- and strike-related, is finally hitting theaters. Directed by Marc Forster and written by Mark Bomback, “White Bird” is very loosely connected to the original film, but it takes a more global, historical approach to the same message about the importance of small but high-stakes gestures of kindness.

Bryce Gheisar returns as Julian, Auggie’s bully from “Wonder,” who has been expelled from school for his cruelty. Now himself the new kid at a new school, he struggles to fit in. But Julian has the opportunity to reinvent himself, which is underscored by a surprise visit — and lesson — from his grandmother Sara (Helen Mirren) that completely changes his perspective on how to move through the world.

Thus unfolds the real story of “White Bird,” which isn’t about Julian, who serves merely as a framing device and a tenuous link to the world of “Wonder.” “White Bird” is actually Sara’s story of her childhood in Nazi-occupied France and the harrowing events she experienced as a young Jewish girl there.

If you’ve ever watched (or read) young-adult Holocaust films or fiction, “White Bird” will feel familiar. It takes a similar tack to real-life stories such as Anne Frank’s. Teen Sara (Ariella Glaser) is the adored and privileged daughter of a professor and a doctor (Ishai Golen) living an idyllic life in a small French village. Drawn to the handsome Vincent (Jem Matthews), she and her friends scoff at quiet Julien (Orlando Schwerdt), who is disabled from polio. Insulated from the harsh realities of occupation until laws limiting the freedom of Jews encroach on her town, Sara’s family makes plans to escape, though they are unable to outrun the Nazi roundups.

Sara, though, manages to escape into the snowy woods, and Julien escorts her through the underground sewers away from the school to his family’s barn where he stows her away, and where he and his parents (Gillian Anderson and Jo Stone-Fewings) care for her. She will remain there, in hiding, until the forces of fascism that have infected her community must be reckoned with. But the story is about the connection she forges with Julien, and the circumstances that allow her to learn to evaluate character through shared humanity and bravery, not status and power.

The strength of “White Bird” lies in its performers, especially Glaser and Schwerdt, who deliver complex, nuanced takes on young people experiencing global atrocities on an intimate scale, while also trying to navigate the complications of connecting as teenagers. They are both excellent and keep the film emotionally grounded.

Forster presents a somewhat sanitized view of the Holocaust that is sobering but digestible for younger audiences. The pastoral setting remains picturesque and almost fairy-tale-like. As recounted through Sara’s memories, it has a kind of glowing haze about it, almost too beautiful at times. Computer-generated flowers bloom before our eyes. A cranberry-red coat stands out starkly against a snowy winter background. It’s an interesting stylistic choice (and one you may have seen in another much-celebrated Holocaust movie), but it speaks to the storytelling element of the film, the way our brains craft memories that might be more vivid and lovely, even after decades.

As a “Wonder Story” and a Holocaust story, the messaging of “White Bird” is unsurprising though important: Empathy matters, especially in action, and that often, caring for others can mean putting one’s own self in danger, but we should do it anyway. In the grand tapestry of human existence, we are all connected. It may be a message we’ve heard time and again, but it’s one that bears repeating.

Katie Walsh is a Tribune News Service film critic.

CTRL movie audience review: CTRL started streaming on Netflix on October 4. The thriller, directed by ace Bollywood director Vikramaditya Motwane, stars Ananya Panday and Vihaan Samat.

The story is about Nella and Joe, who seem like the ideal influencer couple. However, when Joe cheats on Nella, she uses an AI app to erase him from her life — only for it to gain control over her.

The Netflix movie has received some highly-positive reviews from viewers, who posted their comments on social media. Let’s take a look at some of those.

CTRL public reviews

“CTRL is… terrific, absorbing and made with a lot of finesse… Do watch if you have time.”

“Found Vikramaditya Motwane’s new Netflix film #CTRL utterly fascinating. So much to admire. An ambitious, timely, deeply uncomfortable screenlife thriller that’ll make you want to change your passwords, cover your webcam and move to the hills.”

“This is quite good. Only 1 hour 40 minutes, and not gonna lie, I had underestimated Motwane a bit with this movie. Ananya did well because she nailed this genre. It starts off slow, happy, and lighthearted, but the tension builds as the story progresses. Give it a watch, it’s nice.”

“vikramdityamotwane Gives a nuanced and gripping narrative and @ananyapandayy has finally come into her own, and does a fine job.”

“As a big fan of Motwane’s films, I’ve always seen him set new standards in mainstream cinema. From Udaan to AK vs AK he has always proved his merit. However, #CTRL feels like just an okay film, despite good casting with Ananya Panday. It lacks a strong impact and becomes somewhat preachy about our relationship with technology, leaving you with little to think about afterward.”

“The movie is abt how social media, AI and corporates are controlling us and not vice versa. Ananya Panday is good. Vihaan Samat is brilliant. The movie cudve been much better. Esp the climax.Theres no closure!”

Donald Glover has pulled the plug on the remainder of his Childish Gambino touring commitments to focus on his health, including an upcoming surgery.

The Grammy-winning “This Is America” singer and “Mr. and Mrs. Smith” star tweeted Friday about the recent health concerns that have now led him to call off shows across Europe and Australia. The historic Emmy winner said he was hospitalized in Houston last month “to make sure of an ailment that had become apparent.”

He continued: “After being assessed, it became clear that I would not perform that night, and after more tests, I could not perform the rest of the U.S. tour in the time asked.”

In September, Glover postponed his New World tour — including several shows at Crypto.com Arena — “to focus on my physical health for a few weeks.” The “Community” actor was initially set to close out the North American leg of his tour earlier this week before heading overseas. Now, he says, “My path to recovery is something I need to confront seriously.”

Glover, 41,did not disclose additional details about his health concerns in his Friday statement. A representative for the multihyphenate did not immediately respond to The Times’ request for more information.

It was a “difficult decision” to cancel the rest of the tour, Glover said, adding that fans can get their refunds at the point of purchase. While it’s unclear when exactly Glover will pick up the pieces, he wrote, “I want nothing more than to bring this show to the fans and perform.”

“Until then, thanks for love, privacy and support,” he said.

The New World tour — his first since 2019 — was poised to be Glover’s final hurrah as his musical personal Childish Gambino, under which he broke into the music scene. As Childish Gambino, Glover earned 12 Grammy nominations and won five prizes, four of which were for his pointed “This Is America.”

Glover released his final Childish Gambino album, “Bando Stone & the New World,” in July. A month prior, Glover revealed he was ready to move on and shed that chapter of his career. “It’s not fulfilling. And I just felt like I didn’t need to build in this way anymore,” he told the New York Times.

He explained that the decision to retire his alter ego was partially influenced by becoming a dad. He shares a boy with wife Michelle White.

“When I put my son on my shoulders, I feel deep joy. That’s real,” he said. “No one on their deathbed is going to look back and say, ‘Thank God I avoided being cringe.’”