Lasse Hallström‘s latest film, The Map That Leads to You, has the makings of a Gen Z “Before Sunset” meets “Eat Pray Love,” but unfortunately, it also has the depth of a mediocre beach read weepy. That is to say, I enjoyed it as I watched, but it has had no lasting effect on my memory or, even worse, my heart.

This is a fun movie if you love the band, and maybe even if you’ve never heard of them before. The interviews are thought-provoking, funny, and moving; the filmmaking is superb, and the music kicks ass.

Here, the filmmakers know exactly what kind of movie their audience wants and have a better-than-average plan to deliver it. You say you want more bromantic chemistry, over-the-top action, and flamboyant, logic-defying plot twists? “War 2” delivers all of that.

It’s beautifully constructed and executed, with a lead character who reveals new biographical and emotional layers to us with each new scene, and a backup cast stocked with small-scale underworld types.

The film is blessed with a fairly strong cast and while it isn’t nearly enough to make it succeed as a whole, whatever degree that certain scenes do work are almost entirely due to their efforts.

Went Up the Hill doesn’t just explore grief, it expresses it.

Structurally sound while at the same time lacking anything you could call a “plot,” “Suspended Time” invites you to listen in your own life to that which is often neglected or unheard.

At its best, “Boys Go to Jupiter” has the bustling energy of those ensemble comedy-dramas about communities of oddballs that Robert Altman and Hal Ashby used to make, in which even minor characters are so exquisitely original they could be the lead of their own movie.

It’s a fairly predictable thriller with few emotional moments apart from anxiety, and even fewer revelations.

Jimmy & Stiggs is a slick wallow into a cranked-up, self-destructive headspace that frequently over-compensates for what it lacks in plot and character development with sheer vigor and volume alone.

In fits and spurts, it casts quite the campy, thrilling spell.

The biggest problem with “Nobody 2” is that the surprise factor is gone, and nothing has taken its place. The wow of seeing a generally comedic actor like Bob Odenkirk go John Wick in the fun 2021 sleeper hit isn’t there anymore.

Desperation destroys comic timing, and this thing is drenched in the flop sweat of a stand-up comedian who knows he’s losing his audience.

Give me a silly movie that knows it’s dumb on a hot summer day every year. This isn’t that. It’s so much dumber than it thinks it is.

It’s certainly a portrait of matrimony and pregnancy, though one that should never, ever be screened in a Lamaze class.

If you loved the 2003 “Freaky Friday,” you’ll probably enjoy “Freakier Friday,” for the simple reason that it’s more or less the same movie, but with new characters added to the existing cast, and more complicated plot mechanics. Way more complicated. This is “Freaky Friday” to the fourth power.

Jean Dujardin, who’s best known here for a still-controversial performance in Michel Hazanavicius’ “The Artist,” is utterly flawless as Picquart, maintaining proper military bearing even as he begins to seethe with indignation.

The film was originally titled “North Star.” Yet, despite a few moments of connection and insight, that is precisely what this story is missing.

It’s a deeply personal film, a life story told by the people who knew and loved Jeff. It hums with the emotion and vibrancy of Buckley’s music.

Hinging on the nitpicking anxieties of the true crime genre, “Strange Harvest” maintains an air of abject horror, even if its penchant for ease nudges focus out of the way.

The Occupant is a strangely frustrating movie. It stays engaging through the sheer force of a committed performance that anchors every single scene of the film, but it’s also so hard to get your arms around narratively (or even thematically) that it pushes you away.

It’s a shaggy hangout film where McCartney and Wonder are dimwitted adversaries who spend their days getting high, insulting one another, and eating veggie dinners. In short, it’s incredibly fun.

In the end, [Cregger] wants to take you on a ride, and so he’s got to provide both hills and valleys, producing a horror film that’s equally hilarious and chilling.

The writer-director’s sharp script examines the many ways that the pain of grief can manifest, physically, mentally, and emotionally, and how it can fracture relationships if you let it. But his film is not all dark. It’s edited with a delightful humor, often landing a laugh with a quick cut or sly pan.

The Pickup is as generic and forgettable as its title suggests: a bland action-comedy that will surely end up being one of the year’s worst movies, if only for the egregious way it squanders its talented cast.

Overall, there’s a timeless quality to the best jokes in “The Naked Gun” that makes them feel of a piece with the lines in the original without being direct copies. They don’t all work, but there are so many of them packed into this film’s blissfully short runtime (under 85 minutes) that every one that lands with a thud is followed by one that connects.

It’s a disturbing, sometimes beautiful film that, by the end, is disquieting for all the wrong reasons.

A tight, restrained, worthwhile first feature from a cast and crew whose next jaunt into the woods will surely worth sharpening our teeth for.