Lindsey Bahr

Dripping in neon, platitudes, sweat and fear, “Bodies Bodies Bodies"...is playful, cutting and never dull.

Johnson and Hart seem to have fun, too, but a fair amount of their charm as a comedic duo is lost without their physical presence — not that the audience of kids will know this or care. Parents might just be wishing they were watching this cast in live-action instead.

Nope has also already had some critics throwing out less than favorable M. Night Shyamalan references. But it is full of vibrant life, too. It goes a long way in forgiving the reveal, which I’d even argue is beside the point. This is a film that offers a lot to chew on, which is more than most big summer spectacles can promise.

It is like an Austen amuse bouche — an entry-level cover version that tries to rev up the humor and speak directly to Gen Z by using its lingo — or at least an advertising executive’s idea of what Gen Z sounds like. But something feels off about the way it is executed.

The Sea Beast is notable for its refusal to dumb itself down for a young audience. It’s anchored by interesting and fairly complex characters who actually have arcs to play.

Luhrmann never does anything by half measures, but perhaps one of the most striking thinks about Elvis is how ultimately restrained it is in the end.

Thompson is truly better than ever and brings to life a complex and evolving person with humor, grace and a sharp edge. McCormack, meanwhile, is a star in the making. And together, the two are magnetic in this wonderfully adult film that is funny, sad, awkward, empowering and illuminating.

Ultimately, Spiderhead just seems a little unsure of what it is or what it’s supposed to be.

It was a Hail Mary to bring back the “Jurassic Park” originals. But their big meeting with the “Jurassic World” cast has the unintended effect of reminding how little we have come to care about the new cast.

It may be more mystifying than illuminating when all is said and done, but it is certainly a uniquely captivating experience with wildly imaginative creations, interesting performances, challenging ideas and one of the best scores of the year.

The Bob’s Burgers Movie feels very easy and lived in thanks at least in part to the fact that its vocal cast has been doing this for over 200 episodes.

If you must reboot an over 30-year-old Disney Channel cartoon like Chip ’n Dale: Rescue Rangers, you could do much worse than looking to “Who Framed Roger Rabbit” for inspiration. But it is a high bar and though Chip ‘n Dale might not reach the heights of that Robert Zemeckis film, it is still a pleasant surprise stuffed to the brim with pop culture references that children of the Chip ’n Dale era may enjoy.

There wasn’t a great reason to take another shot at Firestarter. Besides, even if it’s lacking in originality, it’s also lacking something even more important: A personality.

Raimi doesn’t take “Doctor Strange” to an entirely new tonal place, like, say Taika Waititi did with Thor. He mostly sticks to the framework established by Scott Derrickson.

Hatching is an assured and promising debut for Bergholm with a jaw-dropping ending that may just cement it as a cult classic in the making.

Sciamma is able to bring to life essential truths of what it is like to be that strange age and the sometimes frightening, sometimes wonderful vastness of a limitless imagination. And she even does it without a background score to manipulate our tear ducts.

Navalny is so taut and suspenseful you’d think John le Carré had left behind a secret manuscript that’s only just coming to light now.

Though it starts off promisingly enough with Carrey’s character marooned on a “piece of shitake” mushroom planet, it soon becomes evident that this outing is a soulless attempt to up the stakes and cash in.

As with most Linklater joints, it’s so sincere and so sweetly true that you can’t really fault it for not reinventing the wheel. Just like a story that your parents have told or maybe you’ve told a million times before, it’s comforting.

It may not be great cinema in any traditional sense, but it’s great fun and a much-needed antidote to all the bad cover versions floating around.

Pathos and action are found in equal parts in The Adam Project, the latest attempt by Netflix to create the kind of throwback blockbuster that you might have paid to see in movie theaters.

Everyone knows this story and how it turns out. But “Cyrano” does a wonderful job of letting you cling to the hope that it might go differently, as agonizing as it might be.

Ultimately it does work, but “Dog” is a movie that is trying to do quite a bit, and perhaps bites off a little more than it can reasonably handle in 90 minutes.

Marry Me hangs on Lopez who is as glowing and glamorous as ever. Lopez, as they say, understood the assignment.

There is a refreshing honesty in this script, penned by Trier and his longtime collaborator Eskil Vogt, that engages with nuance and the impossible complexities of life in a way that most “rom-coms” avoid like the plague.

Ultimately, “Sundown” is more of a spiritual sister to “Melancholia” with shades of “Somewhere." It is a portrait of a body whose soul has long since departed.

Like a drug store chocolate bar, it just is. It might not be good for you, but it’ll go down shockingly easy, give you a minor sugar high (and possible headache) and disappear from your memory just as quickly, leaving you defenseless for when the inevitable sequel comes along.

It’s hard to overstate just how garish and frenetic this whole endeavor is. Even with the explosion of colors it still strains to hold interest.