Here is a film that dabbles in fantasy yet gets everything right about that fleeting summer when you’re between the end of your youth and the beginnings of adulthood.

Although this is the antithesis of a fly-on-the-wall chronicle, what with Will Ferrell being WILL FERRELL, it’s still an emotionally honest and deeply moving look at two friends bonding after one of them has found the courage to be her true self.

The straightforward, docudrama style by director Walpoth captures the degenerate-gambler mindset that is an element of the culture, and a cast of familiar talents creates a bounty of colorful schemers and dreamers.

Everything about “Uglies” is average. Not terrible enough to be campy, not deep or provocative or visually impressive enough to merit further chapters in the story.

Speak No Evil eventually goes full-on with the familiar horror movie blood-spattering, but the social satire in that well-executed build-up is the real strength of the film.

This is a movie swirling in a cauldron of raw and frayed emotions, yet never coming across as treacly or overly sentimental.

Was a sequel really necessary? Probably not, but thanks to Burton’s offbeat genius and a fine cast that is game for anything and everything, it’s a welcome exercise in ghostly nostalgia.

This is a competently made film with decent cinematography and production design, and the casting is never less than ... interesting, but it favors a simplistic approach and a narrative that verges on adoration.

Everything that transpires in the tightly spun if sometimes plausibility-bending psychological thriller “The Wasp” eventually connects — and when it all comes together, it’s a shocking and visceral gut punch.

The Swedish director Mikael Håfström, whose best-known American film is the chilling 2007 Stephen King adaptation “1408,” employs jump scares and quick cuts to capture the looming sense of danger (or is it paranoia?) aboard the ship, while the screenplay by R. Scott Adams and Nathan Parker takes the story back and forth between the present-day unraveling on Odyssey-1 and flashbacks on Earth.

I’m all for pushing the limits of taste in the name of edgy laughs and portrayals of teen life that don’t sugarcoat the realities of teen life, but while Incoming easily earns its R rating, it has a bit of foul odor about it and features far too many cheap gross-out gags and the inclusion of some genuinely creepy characters whose actions range from the morally questionable to flat-out criminal.

Thanks to a legendary director at the top of his game, this is easily one of the best action movies of the year.

Zoë Kravitz’s “Blink Twice” is a radical blend of trippy and unnerving social satire and blood-spattered horror, with Kravitz taking a big swing in her feature directorial debut and connecting with bone-rattling impact. It is a film that takes one big leap after another and sticks the landing far more often than not.

Skincare is like a quick trip to the local spa. It’s not going to change your life, but it provides instant gratification and helps you escape for an hour and a half.

Anything is possible in the world of “The Union.” I mean, anything.

Alien: Romulus sometimes plays like little more than a greatest hits mashup of the first two films, but that’s enough to carry the day.

It Ends with Us handles the issue of domestic violence with admirable sensitivity and noble intentions, but with a far too long running time of 130 minutes and a plot that depends on not one, not two, but three major coincidences, it isn’t as impactful or resonant as it could have been.

That incredible cast is utterly wasted, with major talents such as Perlman, Jones, Molina, Rhames and Hauser stuck in small supporting roles, playing underwritten, clichéd characters who drift in and out of the movie for a scene or two and then are forgotten.

Much of what transpires in “Cuckoo” depends on your willingness to just go with it, and your forgiveness for a couple of loose ends that remain untied throughout. The fun here is enjoying the screen-popping performances by Schafer and Dan Stevens as a snarling villain, not to mention the quality Jump Scares and the overall creepy vibe.

Trap is a well-crafted shell with nothing inside.

Nanette Burstein...provides steady, no-frills direction that includes snippets of Taylor’s movies, a myriad of behind-the-scenes photos and newsreel footage; there’s a nearly endless supply of material, given Taylor starred in some 80 films and offscreen was one of the most photographed and filmed people ever.

To our great benefit, the material is handled beautifully, even tenderly, without becoming maudlin.

I’m not sure there’s ever been a film with more callbacks, more surprise cameos, more inside-showbiz references — even a couple of jokes about the personal lives of certain participants. It’s all great fun, and it’s just enough to overcome the uninspired direction, mid-level special effects and hit-and-miss humor.

Twisters is hokey and dumb, but spectacular fun.

With director Greg Berlanti (“Love, Simon”) skillfully weaving in a myriad of storylines that justify the 132-minute running time, Rose Gilroy delivering a crisp and funny script (based on a story by Bill Kirstein and Kennan Flynn) and Scarlett Johansson and Channing Tatum igniting the fuse with good old-fashioned, Grade A movie-star chemistry, “Fly Me to the Moon” is a “go” from the get-go.

The long-run fallout of the Louis C.K. scandal is the subject of the thought-provoking New York Times documentary “Sorry/Not Sorry” from directors and producers Caroline Suh and Cara Mones, which shines a spotlight on the difficult questions raised when someone’s egregious actions result in them being “canceled.”

Space Cadet wraps itself in the trappings of a female empowerment story, but it actually celebrates using deception and taking shortcuts. Rex Simpson is no Elle Woods, and this story is more “Illegal, Need Bond” than “Legally Blonde.”

“Axel F” is the very definition of passable, comfort-viewing, nostalgia-tinged entertainment. It’s a good-looking film, and it’s wonderful to see Eddie Murphy returning to one of his signature roles and pumping it back to life after he sleep-walked through “Cop III.” It’s just a shame they got the band together after three decades, only to have them perform by-the-book renditions of the same old songs.