It feels good to have the Wayans brothers back where they belong, even if Scary Movie isn’t quite up to the level of the first film in the franchise. While it maintains that film’s strengths, the humor doesn’t feel as fresh as it once did. For all their willingness to offend, the Wayanses don’t have anything to say with their jokes, rendering them toothless.

Outcome has good intentions, aiming to show the real side of Hollywood, but odd choices muddle its results. It wants to have all these emotional moments and still be a funny take on Hollywood, but often one is frustratingly sacrificed for the other. It’s a shame considering all the comedy and showbiz experience Hill can bring to this project.

The Super Mario Galaxy Movie is inarguably fun, built for fans of the long-running franchise. For lifelong fans of this universe and young kids experiencing it for the first or second time, this is a Mario fan’s dream. There’s enough here to leave a mass audience satisfied, even if anticipation grows for the next film to level up. For now, good enough is simply enough.

The film’s refusal to engage with its own material and its franchise’s legacy may not be the only problem with “Scream 7,“but it’s certainly the biggest. For every good element, there’s an equally bad one. The performances are either good (Campbell has always been great as Sidney, but this may be her best performance in the franchise to date) or barely functional (Courtney Cox looks and sounds like she’s sleepwalking through playing Gale Weathers despite getting an all-timer entrance).

There’s certainly entertainment value in “Mercy,” especially in a late-film chase captured largely via dashcam, and in the film’s gamified version of criminal court, which has a video-game-like appeal. But with a concept so close to the real world, you need to engage with the ideas to connect with the audience beyond the surface, truly.

Regretting You is a baffling romantic drama that reinforces why this genre, despite its loyal audience, has struggled to evolve.

There’s simply nothing of value here, not even the thrill of an adrenaline rush from a cheap jump scare. Any attempts at shock are hollow and laughable. The viewer is likely to leave the theater feeling similar to how Josh Hutcherson appears in this film, understandably checked out, vacant, and simply worn down.

Whether you attended those shows, had your own musical taste shaped by those that took the stage, or are simply interested in a more detailed look at this impactful period of popular music history, Lilith Fair: Building a Mystery provides an excellent guide to this most epic of traveling shows.

It stands as a tribute to the power of storytelling, the influence of the moving image, and the enduring spirit of revolution in all its forms.

It’s a portrait that isn’t the most effective, but has enough pieces worthy of appreciation.

This is an accomplished debut for writer-director Bresser, a superbly acted and beautifully shot mystery thriller with a strong sense of place and some satisfyingly Lynchian undertones.

Oxman has a great directorial voice and uses close-ups and wide shots to allow the audience into her characters’ world.

L’Aventura is sometimes a messy, repetitive, and frustrating watch. But that may be the point. It tests your patience like a real vacation can, which makes it feel uncannily familiar.

The film is full of vibrancy and joy, enveloping us in an energetic community of the arts.

Pulling from personal and vulnerable archives, Birds of War gives voice to the people and gives us a grounded perspective on international conflict.

Cookie Queens excels at balancing a light-hearted energy with thought-provoking musings on entrepreneurial sacrifice and ambition.

Bodycam is an efficient little scary movie that has its share of scares, even if they’re nothing that horror fans haven’t seen before.

For the most part, Family Movie glides along on the geniality of its cast and Kevin Bacon’s light touch as a director. There’s not a whole lot of style to speak of, but the film looks good, and it moves along at a solid pace.

It’s nowhere near the reflective dissection of the complications of modern love it wants to be. However, it’s still a solid entry into a consistent filmography from a filmmaker like Swanberg.

While the film’s messaging isn’t always perfectly nailed down, it remains a powerful exploration of the terrifying fact that we are the architects of our own reality. It is a strong debut that proves Jessica Rothe should be in more things, anchoring a film that is gripping and unsettling.

While the structure can be a little too unfocused, Coixet’s subtle depiction of love and loss goes a long way, building to a memorable conclusion.

With a smart script that reclaims stigmatized narratives, they’ve made a thoughtful documentary that explores sex work through an imaginative and humanistic lens.

The School Duel is, at its core, a savage satire about a society so obsessed with its right to bear arms that it sacrifices its own children on the altar of nationalism. It dares to ask if patriotism has a limit and what happens when you blow past it. In doing so, Wiseman Jr. doesn’t just twist the narrative. He detonates it.

On A String is a gentle film; even its more satirical elements aren’t particularly prickly. That softness, combined with extremely low dramatic energy, unfortunately, means that it’s not always the most enthralling film, and its abrupt ending (and super short runtime) gives it the impression of inconsequentiality.

It’s hard to see Groundswell in anything other than superficial terms. For one, it’s a pretty dull affair, needlessly repetitive, and feels much more like a corporate presentation than a cinematic event. Secondly, its mix of sullen seriousness and winking wryness makes for a tonally bizarre watch, lingering needlessly on given moments while brushing aside real questions of scalability given the global drive for food from an ever-exploding population.