Only a hair overlong at two hours, this is the kind of disposable airport spy thriller that Hollywood rarely makes anymore, and which generally plays fine, maybe best, on cable over a lazy Saturday afternoon.

As with Landon’s equally ludicrous Happy Death Day 2U (2019), the fun comes from seeing exactly how deftly and stylishly the director can pull these things off; it’s like watching a magician successfully perform a trick that you know isn’t a real illusion so much as an act of misdirection, extreme co-ordination and a specific set of well-honed skills.

The only agenda in Warfare, in other words, is to give you a sense of not just what happened but how everything felt while it was happening. A tall order, to be sure, but one that Garland, Mendoza, their cast and the crew pull off shockingly well.

Regardless of whether you’ve ever played Minecraft or not, you’ll recognize the kind of endless ribbing, nudging, winking knowingness on display here; this is steeped in the self-aware absurdism of, say, those Old Spice commercials that aim to confuse and confound in the name of moving products off store shelves. A Minecraft Movie is essentially a 101-minute version of that.

Like a particularly concise, purposefully elliptical short story, The Woman in the Yard quickly milks this beguiling, WTF-is-going-on-here? scenario for all the dread it’s worth, while not necessarily being in a hurry to fill folks in on the full 411 regarding this sticky situation.

It has homicidal fantasy critters, lots of sharp and pointy horns, and absolutely no teeth.

[Siegel and McGehee] get that this isn’t just a story about a woman bonding with a dog — it’s a tale of loss and sorrow that inherently knows such heavy feelings aren’t confined to a single species.

It still feels like you’ve wandered into a Mob-themed animatronic presentation at some amusement park — the Disney Hall of Famous Mafia Bosses — and dutifully watch as landmark moments in crime history are checked off and re-enacted. Take away the De Niro Con: The Movie bona fides, and you’ve got nothing but a fancy Discovery special.

This Snow White may not be the worst live-action adaptation of an animated touchstone, though it’s a strong contender for its blandest. The movie does earn points as a bedtime story, however, because it will definitely put you to sleep.

It’s a bad movie, full stop. Which is a pity, because the pedigree looks great on paper.

It’s a great espionage thriller, and an even better scenes-from-a-marriage drama. Ian Fleming would love this. So would Ingmar Bergman.

There are surreal and absurdist touches throughout Nyoni’s second feature, and like the Zambian filmmaker’s awe-inspiring debut, I Am Not a Witch (2017), it proves she has a perfect sense of how to blend no-nonsense realism with its more magical counterpart.

Bong is a consummate cinematic craftsman, virtually incapable of creating a dull frame. What’s happening within those impeccable compositions, however, feels like its suffering from an overabundance of business and undernourished storytelling.

The dramatized version simply floats, roils and plods forward as if being tugged dutifully along, ticking off checkpoints along the way. That IRL ending still reads as miraculous. Yet the whole thing feels still feels starved for creative oxygen.

It’s content to be just one long, sick joke without a punchline, designed to occasionally punctuate a stylishly nihilistic P.O.V. with a lot of OMG moments. You may love it or hate it.

There is no single category that you can slot Rankin’s mix of a wink, a nudge and an embrace into, so we guess “lo-fi masterpiece” will have to do until a better option comes along.

An extended rom-com meet-cute that just happens to have monsters lurking about, The Gorge works best when its just the two leads staring at each through binoculars, bantering via sketch-pad scrawlings and letting their flirtations organically morph something more intimate.

It’s as if someone had gently ladled a teaspoon of artificial political-thriller flavor over a substandard Marvel movie, being oh-so-careful as to not upset corporate overlords or the status quo. A better title might have been Captain America: Business as Usual.

Paddington in Peru sticks to its franchise’s overarching script, delivering exactly the kind of affection, silliness and gentle heartstring-plucking you now expect from the series.

Parthenope wants to be a feminine epic. It’s really just an update of those Bardot arthouse skin flicks, Italian style. But it can take solace in easily being an early contender for the horniest movie of the year.

Love may hurt, sure. But it’s not nearly as painful as being forced to watch a great actor stuck in a bad movie.

It’s decent if often frustrating debut, buoyed by a star that’s shouldering a lot of the needlessly complicated narrative burden. We can’t wait to see what Tøndel’s fourth film looks like.

What gives this pulpy creation such a savory flavor and lasting bite isn’t just the puncturing of romantic clichés cemented 24 frames per second over decades, or the low-hanging-fruit pokes at society’s reliance on technology taken to extremes. It’s the way it makes you suddenly start questioning the whole notion of finding your soulmate if, given the opportunity, you can just purchase them and pay on installment.

Directed by Sundance veteran Ira Sachs, Peter Hujar’s Day takes an extended conversation between talented, creative friends and elevates it to the realm of both first-rate voyeurism and the second-hand high of reliving a lost era.

Buckley hasn’t had a million portraits sketched of him, much less to this degree. The singularity of It’s Never Over, along with the access and the candor, makes up for a lot here.

Unfortunately, Malkovich thrusting in a metallic space suit may indeed be the sole takeaway of this attempt at a social thriller.

It’s a music doc that takes its music-doc responsibilities seriously.

The film is largely a competent but uninspiring telling of his tale.