Lohan is just fine with self-deprecating quips at her expense and looking silly while getting messy by way of physical comedy involving toilets, raccoons, and the aforementioned ski accident. Lohan shines in these moments, and the blooper reel in the credits shows that shine even extended to the set.

Above all, the movie makes a case for the tremendous resources on display by attaching them to genuine investment in the stakes at hand. When the telescope gets to work, it may not deliver firm answers for a world that demands instant gratification. But it will provide many reasons to keep looking up, and The Hunt for Planet B captures many of them.

Pitched somewhere between outrageous satire and sincerity, the movie has a tough time finding its priorities, but it’s endearing to watch it try.

Uncle Drew is such a well-acted, warm-hearted basketball comedy that you’re liable to forget about its corporate origins.

Piercing too often gets lost in the fog of its deranged characters, but just as frequently transforms their lunacy into a heightened form of escapist entertainment. In a movie where everyone’s crazy, “Piercing” makes their malady infectious.

Heineman only falters in the same place that his subject often has: In knotting those disparate parts into a cohesive whole.

It’s a pretty intense film at times, and it may be too earnest for its own good; but it’s a finely acted film and one that also firmly makes a connection between the Civil Rights movement and the beginning of the women’s movement, as Spacek begins to find her spine and come out of her protective “good wife” shell.

Afire doesn’t have that much story to tell or cards to turn over. When it does run out of reveals, we’re left with a character too thick to catch up and an approach that begins to double itself.

The road to the closing moments of “No Way Home” — both warm-hearted and heartbreaking — might have hit a few bumps, but the darkness is worth it. After all, when was the last time the third film in a franchise got audiences truly thrilled for what comes next?

That sense of a story rendered incomplete, of answers we may never fully know, is at the heart of the Kowalskis’ story, but Roosevelt’s film is unable to square that with the constraints and demands of a feature film.

As it stands, Ted K amounts to a fragmented set of moments, many of them quite disturbing, and some them quite sad. But the half-baked quality of the big picture leads to the conclusion that it may be impossible to ever fully comprehend the motivating factors that led to Kaczynski’s fate — and perhaps that’s how it belongs.

Co-written by John Quester, von Heinz’s script tends to operate more like a wrecking ball than a controlled demolition, but Fry and Dunham endow their scenes with a brick-by-brick specificity that brings their characters to their life — the former in spite of Edek’s general buffoonery, and the latter in spite of the humorlessness that Ruth has developed as a reaction to it.

Buoyed by a brilliant transformation by Christian Bale, it offers a smart and detailed overview of Cheney’s elaborate ruse to exploit the country’s highest authority, but undercuts its authority with crass and often clunky humor that overstates the nature of Cheney’s villainy. Lame jokes just get in the way when the bad guys are hiding in plain sight.

Thorne’s novel might be best known for its hot-and-bothered sex scenes, but she also built a romance with real stakes and big emotion, and Hutchings and his stars translate that to the big screen with ease. Why can’t every rom-com make it look so easy?

This is a fun — and sometimes very funny — movie that is virtually impossible to make fun of in return, and at the end of the day, that might be the only metric of success that matters to it.

Crush is, for better or worse, just like every other teen rom-com, extraordinary in its ordinariness. It succeeds at what it sets out to do: Give queer kids a totally enjoyable, and often quite funny, mainstream love story with a happy ending.

An ode to the strength of onscreen horror even in its less inspired state, the new Evil Dead primarily succeeds at illustrating how the originals have managed to stand the test of time.

The result is a light, low-key crowdpleaser that occasionally steps into more harrowing territory before neatly spinning right out of it.

If Get Out isn’t half as scary as the ideas that inspired it, Jordan Peele’s directorial debut is almost certain to be the boldest — and most important — studio genre release of the year. What it lacks in fear, it nearly makes up for in fearlessness.

Truth or Dare doesn’t aspire to groundbreaking heights, but it’s got just the right mix of laughs and scares to keep viewers engaged with the ridiculous concept they signed up to watch — and a welcome finale that suggests the game could come back for another round in the future.

Despite some of the counterproductive choices in “1666,” the way that “Fear Street” chooses to wrap up this mini-saga is a jolt of inspiration at the finish.

It’s hard not to smile when John Woo is having this much fun, or to care about the future when the old-fashioned has this much style.

A zany, imaginative, and extremely kid-oriented “Avengers” riff that combines major stars with Snapchat-level special effects in order to lend a live-action Saturday morning cartoon vibe to a story about seizing your own destiny, “We Can Be Heroes” is the ultimate Troublemaker movie.

All of You is an unusual high-concept relationship drama in that its concept seems to have absolutely no impact on the story whatsoever.

Bombshell is a lurid, cartoonish romp, marred by rough and sometimes overbearing flourishes, but not without a tragicomic soul. That alone makes it a genuine movie of the moment.

Petzold remains a master of capturing frantic characters doomed by dark obsessions, and while Undine is certainly a minor work, it still shows evidence of a master’s hand.

The action is taut, the stakes are clear, and Kirk never misses a chance to remind us that all of these are just regular people who’ve crossed paths in a dark place.

It pitches a tone between comedy and tragedy that holds unique appeal.