About the only reason to see Fire of Love is to be treated to more material from the Kraffts’ archives, since Dosa and Herzog mostly selected different footage.

Regardless of the reason, Borderlands arrives as a legitimate contender not only for worst film of 2024 but one of the worst videogame movies ever released.

Perhaps in the hands of a visionary genius in touch with their inner child, it might have been possible to achieve something better than an overlong throwaway distraction for a preschooler. In the hands of these filmmakers, however, it feels like a soulless cash-grab – an attempt to tap into the family-friendly frenzy that has emerged this summer.

Trap is a house of cards built on a bed of sand in the middle of a hurricane. It flies apart and collapses almost immediately and the various plot threads are so thoroughly ripped to shreds that there’s nothing left at the end but the wreckage of a movie and the recognition that 105 precious minutes have been stolen.

Demand for the movie is high and, although it’s not the be-all/end-all of superhero movies, its anarchic and rambunctious approach to the genre results in an entertaining hybrid of comic book action and straightforward satire.

Although Mc Carthy’s style is critical to the movie’s effectiveness, he doesn’t abandon the story in its service. Instead, he crafts a plot that is intriguing and engaging and caps everything off with a satisfying ending.

The opening sequence/prologue is gripping but that’s the only aspect of Twisters that works on its intended level. I was not blown away.

The fourth movie is in many ways better than it has a right to be and it’s certainly a worthy way to dispose of a couple of hours lying on the couch at home, but this is hardly a triumphant return for Axel or Murphy.

Everything about this movie feels both tired and tiring. Yes, it does a great job setting up a sense of deep unease but that quickly evaporates when it becomes apparent the movie isn’t going anywhere worthwhile or interesting, and the ending is downright silly.

Fly Me to the Moon isn’t a complete failure to launch (thanks primarily to the not-inconsiderable charisma and energy Johansson brings to the production) but neither does it have the thrust to make it into orbit.

Like undercooked comfort food, the series has lost its taste and appeal. Despicable Me 4 exemplifies what happens when an animated franchise overstays its welcome.

Maxxxine is the weakest of the three members of the X Trilogy. It’s as if West and Goth were too enamored with the character to let her fade away, so they contrived a scattershot and ultimately unsatisfying way to return her to the screen.

Although not without its merits, it’s far from a standout even when one considers how lackluster the current indie/art house landscape has become.

I applaud what Costner has given us with Horizon. This contains many of the things on my movie wish-list with its focus on an original story, diverse characters, and a classic cinematic approach. Problems aside, Costner has me hooked and I’ll be among the first in line to see Chapter 2 when it opens in August.

This works effectively as a stand-alone film and part of a larger story, and finds a way to extend the Quiet Place concept without feeling redundant.

Yankovic understands and takes to heart the maxim of never letting the facts get in the way of a good story.

Kinds of Kindness may not offer the kind of full experience provided by Poor Things but it is a reminder of the responses a movie can engender when the director doesn’t play by the rules.

It’s a passable production with some interesting performances but the bumpy screenplay and uneven pacing keep the audience at arm’s-length and limit the effectiveness of the narrative.

It’s solid, middle-of-the-road Pixar, not quite as good as some of their better sequels but superior to the Cars follow-ups.

Ironically for something titled The Watchers, this production lacks the basic quality of watchability.

It’s cinematic fast-food but not of the delicious, addictive variety. It’s a little overcooked and has gone cold – still edible but by no means satisfying.

Hit Man is smartly written, with Linklater and Powell deftly melding screwball comedy elements with rom-com beats against a Hitchcockian thriller backdrop. The small twists have big payoffs.

Take away the spectacle aspect and the movie may seem repetitive and underwritten. In a premium movie house, however, the immersion is so complete that viewers may require a short recovery period once it’s all over.

My reaction is that I could learn a lot more about Winehouse by listening to her music than by watching this by-the-numbers sketch of her adult life.

As a follow-up/homage, Chapter 1 isn’t bad but it feels superfluous, adding little substantive to what was previously provided by The Strangers and the second film in the series, 2018’s The Strangers: Prey at Night.

The narrative is all over the place. Character motivation is confusing. And, worst of all, the story simply isn’t interesting.

The battles and a climactic action sequence are well filmed but Kingdom isn’t trying to outdo the other summer films when it comes to edge-of-the-seat viewing. In a strange way, I find that refreshing.

The Fall Guy delivers where it matters – it’s a fun, uplifting excursion into big-screen escapism.