It’s frustrating, then, to see such high-concept potential, some decent production design, and a couple of game leads fall victim to a mystery that unfolds with thudding obviousness.

We’re left with a mid-level take on Superman that, at times, will remind you of the 1978 version, but doesn’t quite match it for pure pop entertainment value.

We could all use a little distraction these days, and there are worse ways to spend the time than in the company of an engrossing erotic thriller. Unfortunately, “Pretty Thing” isn’t one of them. Between stilted conversations, murky cinematography, and the story’s intimate partner violence, the film is distracting in an unpleasant way.

There’s nothing in “Ice Road: Vengeance” that isn’t in any given Redbox/Saban Films Neeson actioner you’ve seen in the last dozen years, and you’ll at least get to the good stuff quicker there.

If the director’s spell has taken hold as presumably intended, by the time the most outlandish touches appear, one has already surrendered to its visceral, chaotic allure.

Goldberg acknowledges that the film’s power is in its exclusive cast sharing their personal experiences. But his film fails to realize that it, too, is a player in platforming an already undefeated beast.

Despite its flaws, Dear Ms.: A Revolution in Print reminds us that authenticity is essential in acquiring and retaining acceptance and relevance, a message we need to hear now more than ever.

A slow build of suspense steadies the pacing, allowing the audience to piece together the puzzle alongside the characters.

All in all, it’s stupid fun, done with enough panache that its thin story and sometimes too-glib attitude doesn’t hurt it too much.

These characters possessed far more soul in the prior film: they walked through every scene with centuries of baggage and loss; they spoke of times gone by with wonder and awe; they cared for one another. None of that is present here.

All in all, it’s heartening to hear a major figure in American political history talking about the future as if it might actually happen.

These moments remind us of the mindless summertime excitement the “Jurassic” movies have long provided, albeit with diminishing returns. But that giant footprint just isn’t as imposing as it used to be.

Victor’s offbeat film may not resonate with everyone, but their approach to this story and its heavy topic is impressive. It feels refreshing to see characters discuss this taboo topic without making it the defining focus of their lives.

Serra’s meticulous shooting and cutting relate to phenomenology; that is, it delivers an account of subjective experience. It implies that Rey’s “personality” is superfluous to his being.

The isolation of the setting, the elliptical dialogue, the inserts of apparently archival anthropological images, and a spare score, sometimes just one sustained note, all give “Hot Milk” a dreamlike quality, the kind of dreams that, at least while we’re dreaming, make more sense than reality.

M3GAN 2.0 doesn’t seem to set out to do much more than show off and get laughs, and it accomplishes it well enough. The film is bigger, but not better, delivering precisely what fans of the sassy android will come to the theatres to see.

Hargitay’s approach is intuitive in a really courageous way, because she’s so open to the process, to her own pain and loss. Behind every frame, you feel her need to understand, to learn, to look.

The quiet character-based scenes are often mesmerizing, as are the dreamy sequences where time seems to stand still. When the plot makes its demands, the spell is broken.

It’s hard enough to watch performers struggle to pump up thin material, even though the main cast’s members all seem capable of the physical business required of their roles. It’s harder to watch as the makers of this scrappy, low-budget production give away too much whenever they rely on effects-driven action or drama.

This film doesn’t rumble through its 156-minute runtime; it flies by. And though “F1” has little to say about the sport’s past, present, or future, the propulsive ride it engineers isn’t a wasted diversion.

It works not because of its focus on what the wildly famous British band Blur was in the ‘90s (that’s been done in other docs), but on what they are now in the 2020s. It’s about aging as much as it’s about “Song 2,” and about trying to find something that hasn’t faded away inside of an artist.

Schmaltzy yet sincere, “Elio,” the latest from Pixar, is as predictable as they come but as tender as they can get.

Stern, herself deaf, crafts an intimate and moving documentary that takes us through the legendary life of Marlee Matlin, uncovering a legacy of advocacy, activism, and perseverance.

Familiar Touch is a gorgeous drama with an open, aching heart.

The Queen of My Dreams is a well-intentioned but tonally all-over-the-place look at how frustrating things can get when you’re a queer Muslim trying to live your best life.

Inspired by the humor of Christopher Guest comedies, found footage horrors, and “cabin in the woods”-style scares, it’s a deliciously unhinged mix that works more often than it doesn’t.

The 95-minute runtime also aids the dramedy’s success: Short, silly, and sweet, the perfect recipe for audience satisfaction.

Bride Hard makes it easy to grab your girls, some snacks (or drinks), and enjoy a little fluffy fun at the cinema.