It’s a jumbled, intriguing, inconsistent mess — and yes, it is uncomfortable by design.

Rarely do you find a Gen Z movie that doesn’t make the group seem so insufferable. This film shows the struggle of modern dating during this time, at this age.

Truth, justice and the American way” mean far different things than they did when Donner made his “Superman” film. Except they don’t. Some people have just tried to hijack them for their own political purposes. “Superman” is Gunn’s attempt to take them back. Let’s hope it works.

A fun and thrilling film which at times plays like a car race somebody stuck a movie into the middle of.

Elio is a good summer movie of intergalactic fun. It just plays it safe.

It’s a horror-movie coming-of-age story, absolutely bonkers and gory and at its heart an art film about finding your own way in a world that has never made any sense since you’ve been in it, which is probably what the world feels like to any kid growing up, only most kids don’t have to protect themselves from zombies who want to devour them.

It’s tempting to say that Song went a more traditional route, but her second film is in fact a bold reshaping of the romcom. I can’t wait for her third.

No, it’s not “The Shining.” It’s not trying to be. But it is a salve when we need one most, and that’s a lot.

Part of the fun of watching Mountainhead, the entertaining first feature film from “Succession” creator Jesse Armstrong, is marveling at the antics of the tech bros who already run a good chunk of the world, and want to run more. Part of the horror is how realistic it all seems. Part of the disappointment is how far it falls into “Three Stooges”-level farce.

With attacks on diversity and inclusion more abundant and dangerous than ever, “Deaf President Now!” is more relevant than ever.

I like movies like “Rosario” — creepy little horror films with enough scares to keep you on edge and enough of a story to keep you invested.

Too often in this long, long slog of Marvel movies, we are expected to have an advanced degree in Marvel-ology to understand even the trailer for a twice-removed TV offshoot. Until the very end, Thunderbolts* is free of this intellectual-property tyranny, content to carve its own funky little way.

Director Lorcan Finnegan is relentless in his pursuit of disquiet. But “The Surfer” is not just an exercise in making a hard-to-watch movie. It’s also a commentary on toxic masculinity and the absurdity of bro culture that poisons X and podcasts and other forms of media.

It doesn’t all add up; it doesn’t even all make sense. Which befits a story involving a man lost in loss, desperate to regain what he cannot. Reality isn’t as important here as feeling something. If you give “The Shrouds” a chance, you will.

Despite its slow pace at times, the film builds on multiple themes such as flying too close to the sun, self-discovery and a tinge of romance.

Sinners is a fascinating movie, overflowing with creativity and bold ideas.

Don’t think about the details too much. Just enjoy the exquisite agony of watching people squirm, and you’ll like “Drop” just fine.

Directed by Scott McGehee and David Siegel, “The Friend” is exactly what you’d expect from beginning to end — there are no surprises. The film, based on the 2018 novel of the same name, is about healing from grief, navigating a years-long friendship and finding new companionship.

A Minecraft Movie is a fun romp that kids, whether they're fans of the game or not, will likely enjoy. The missed opportunity is the older generations of players. There's not enough storytelling or humor to get us invested in Hess' Minecraft world.

Delving into Argentinian politics, grief and growth, while the film had room to explore these themes, it remains somewhat lighthearted — which is where it falls short.

The ideas are there. Or at least mostly there. The performances are first-rate, particularly those of Vikander and Olsen, waging a war of wills — the tension is palpable. Maybe the payoff just can’t match the build-up.

On Becoming a Guinea Fowl is not the first film about family secrets coming to light through grief, but it may be the most original.

The Alto Knights is a good movie, but one that feels like it could have been great. And for what it’s worth, although I’m still not sure why it’s here, De Niro’s Pesci imitation is killer.

Black Bag, Steven Soderbergh’s outstanding new film, is sleek, cool, polished, smart, smooth — if Soderbergh were a thief, he’d leave no fingerprints.

Mostly “Novocaine” is just fun. And mostly, that’s enough.

Maybe the Manson murders are not meant for easy explanation, which in part seems to be what Morris is getting at. Maybe we’ll never really know the answers. But we don’t seem to be able to stop looking for them.

The movie has its moments (some of the songs are fun, as always), but like Plankton’s efforts at taking over the world, it’s ultimately a disappointment.

Balanced with the over-the-top but spot-on performances by Ruffalo and Collette as the clear “rich guy turned politician that has a really really loyal fanbase” stand-in, "Mickey 17" is one of Bong’s best English-language films.