Boys Go to Jupiter, the debut feature film from American 3-D animator, video game designer, and illustrator Julian Glander, is both jaded and fresh, a Gen-Z version of Richard Linklater’s early slacker comedies with a sprinkling of Studio Ghibli’s childlike fantasy.

Wala doesn’t go deep enough, and the film stays on the surface. At the same time, the characters stick with you, enough to make us want to know what happens next for Ash and Claire.

My Mother’s Wedding is a perfectly nice film. It’s tough not to think that it might have been much more.

Cregger’s film is a standout — unsettling, odd, and wickedly fun. Weapons might just be the horror movie for people who don’t do horror.

Souleymane’s Story immerses us in an unrepresented world of African migrants in France with a ticking clock urgency that puts most thrillers to shame.

Freakier Friday is a corny, tepidly enjoyable, thematically recyclable, narratively entangled cinematic situation — sort of like watching four people trying on the same style of sweater in different sizes. And it’s nuanced.

An Honest Life is an interesting if undemanding made-for-Netflix thriller that weaves together themes of classism, anarchy, and ultimately a young character coming to terms with who he is, and how far off the path of an ordinary life he’s prepared to go.

Suffice to say this Naked Gun packs an Airplane!’s worth of sight gags, non-sequiturs, malapropisms and misunderstood lines into a rapid-fire, comedy-friendly 85 minutes, the exact (and perfect!) timing of the 1988 original.

One to talk about afterwards with your significant other — if the subject matter hasn’t made you terrified of spending too much time alone with them.

It’s utterly brainless fun with a big, big heart.

The Home has neither haunting atmosphere nor paranoid madness to recommend it; it’s just a weak story, badly executed and dragged along until it launches into a blood-spatter bonanza in the last five minutes.

All the intricacies — and absurdities — of creating a modern relationship are on display in Oh, Hi!, a clever comedy with Molly Gordon and Logan Lerman as a couple getting to know each other better.

We get it. This is their entry ticket into the MCU. And the space-age ‘60s vibe does add a little bubblegum to soften any attempt at over-seriousness (it brings to mind the use of ‘50s kitsch in the game-based series Fallout).

Aster packs a lot into the film but never loses control of the material. In his most mainstream work to date, he once again shows his mettle as a serious filmmaker.

Whatever you do this summer, watching this reboot shouldn’t be one of them.

The film is a potent portrait of the heavy bootprint that colonialism left on the African continent, but the childlike point of view makes it an eminently watchable story, with moments of levity and even humour.

There are plot turns, double crosses and, appropriately for the online world, threats of live streaming torture and echoes of video battle games. But there’s at least a half-hour too much of it.

Hot Spring Shark Attack is a broad spoof of Jaws, related monster movies, police procedurals, contemporary culture (think influencers) superhero sagas and other things. And it is initially quite a lark.

Bang operates in its own category: so bad, it’s almost watchable. And in the crowded deluge of disposable entertainment, that’s almost a compliment.

It is to Costa’s credit that she provides a soothing, reflective tone to the subject, both in her poetic voiceover and a hypnotically smooth editing that movies from drone shots of crowds, congregations, rallies, and protest marches to handheld closeups of politicians clawing their ways through teeming throngs of admirers.

To a Land Unknown is unquestionably topical. It’s also rooted in a well-known movie tradition, films that are empathetic portraits of low-level urban criminals struggling for survival and dignity.

Push feels like a long joke waiting for a punchline that never lands. Or worse, one that makes you feel stupid for not getting it, even though the setup was never quite clear to begin with.

As a feature-film directorial debut, 40 Acres marks a stunning entrance for Thorne into the cinematic landscape—Canadian or otherwise.

Sorry, Baby, the feature debut of American writer-director Eva Victor, who also stars, is a clear announcement of an original new talent able to create highly inventive visuals with a limited budget. It is also a terrific — and sad and funny and contemplative — testimony about how trauma profoundly stains people’s lives, with far-reaching and unpredictable outcomes.

The humour is scattershot, the themes undercooked, and despite some high-tech window dressing, M3GAN 2.0 ultimately feels more refurbished than a technical evolution.

Last Take: Rust and the Story of Halyna is informative (albeit distressing) but doesn’t offer any final answers about the accident that cost Hutchins her life.

Digressive, sure, but hot damn the film is fun, its 155-minute running time as slick as the track at Monza in a rainstorm. And just in time for summer.

Like every cringeworthy wedding you’ve ever attended, it leaves one with a lukewarm smile, and the hope that the time invested in witnessing this spectacle of forced happiness will be appreciated.