What do you get when you cross a discordant riff on a fan favorite with a failed prestige project? Twice as much deux-deux.

This tale of self-involved millennials, a mystery machine, and a whole mess of purposefully mistaken identities is the kind of mashup of high-concept horror and ham-fisted satire that mistakes complicated for complex and a pile-up of confusing plot twists for storytelling.

Elliott is a recognizable archetype. Thanks to Park’s writing and Stella’s ridiculously charismatic performance, she’s anything but a generic one.

What truly makes this a movie worth searching out is the way writer-director Bernardo Britto’s sideways take on carpe diem sets the stage for its lead to rage, and somehow never lets the high-concept premise eclipse the performance at the center of it.

It’s all at the service of the Clooney-Pitt Show, and credit Wolfs for reminding you how fun the sight of these two guys running around while shooting guns, looking late-middle-aged cool and cracking wise, remains. This used to be a typical Friday night at the movies, and now it’s a rarity.

The Substance won’t reset society’s fixation on youth or cure Hollywood’s sexist ills. It will, however, remind you that when you’re chasing your past by any means necessary, you are always your own worst enemy.

It truly is a solid match of moviemaker and source material. Yet none of this would work as well as it does without Craig.

It’s not just that they don’t make movies like this anymore — of course they don’t! — so much as no one bothers to tell these types of sprawling narratives with this level of storytelling, chops, nerve and verve.

Thanks to Jacobs’ extraordinary ear for how people use words to wound and mask, and a holy trinity that knows not only how to speak those words but how to complement one another’s disparate performing styles, His Three Daughters ends up being nothing less than the single best movie you’ll likely see this year.

Maybe our expectations were too high. Maybe we should have said his name — Burton Burton Burton — three times, and the filmmaker who did that beloved original would reappear, grinning maniacally and giving us something a bit less undead and a bit more alive.

It’s all admittedly funny and nerve-jangling, with the comedians mugging and the pressure mounting and the chances of Michaels’ dream of a show “made for the generation who grew up on TV, by the generation who grew up on TV” actually airing slipping away minute by ticked-off minute.

You don’t have to know about Erice’s own backstory to appreciate this mournful, seeking work about life, art, loss, and the space where they all overlap.

There’s so many sharp jabs here, so much well-honed Hitchcockian 101 technique on display, that you can’t dismiss this exercise in horror as social-rage sugar pill.

It doesn’t take long to realize that what was meant to be a franchise-starter is, unlike its hero, permanently DOA.

Rather than telling you how young women are affected by this, Patton and Rae show you. And to watch one of the interviewees go for being a joyous, giddy, chatty child to being a slightly older, more distant and jaded tween is heartbreaking.

Does it tick off the boxes of what we’ve come to expect from this series? Yes. Does it add up to more than The Chris Farley Show of Alien movies? Well … let’s just say no one may be able to hear you scream in space, but they will assuredly hear your resigned sighs in a theater.

Look at it through the lens of a dual star vehicle that isn’t afraid to sacrifice coherence in the name of cheap thrills, and this bird only slightly sings off-key.

Good One is, among its infinite attributes, an ode to a style of filmmaking that appears to be humble, yet still manages to be devastating and humanistic to its very core. Mostly, it’s just a great f*cking movie, full stop.

It’s slick and eager to elide the moral messiness of the material with its lightly empowering messaging, but also competently executed with a starry performance at its center. That recipe almost makes you nostalgic for what it’s selling: The old-school, middle-of-the-road tearjerker, the Starbucks latte of movies. It’s not going to blow your mind, it might taste a little burnt at times, but occasionally it does the trick.

Trap is… well, you wouldn’t say it’s good...It is undeniably camp, however, and we look forward to attending one of those midnight reclamation-revival screenings à la Showgirls, where everyone screams the dialogue and dresses like Hartnett’s normcore Norman Bates, a decade from now.

War Game concentrates a lot on the “how to” part. But it also says a lot about how eerily easy and how horrifyingly relatable the “why” of it all is.

If nothing else, Damon and Affleck’s Beacon Street Wild Ride reminds you that movie stars plus car crashes, divided by gunshots and laughs, was part of a regular, balanced American-cinema breakfast.

In a genre that runs the gamut from A Hard Day’s Night to Can’t Stop the Music, filmmaker Rich Peppiatt’s gonzo take on the band’s story — titled, simply, Kneecap — falls somewhere between those two markers of quality; the group may be groundbreaking, but this recounting of their struggle to achieve fame, glory, and inhuman levels of intoxication sticks to an extremely familiar template.

You can add Sean Wang’s Dìdi to the short list of films that fine-tune the personal into the universal, and turn a magic-mirror reflection of its creator into a shared wavelength.

The Deadpool movies were once a much-needed counterpoint to all those dead-serious MCU sagas. They still act like the foul-mouthed class clown in the back row, but now it’s just more white noise dressed in red, yellow and black.

Be warned that it is a gateway drug. It’s also the sort of movie that makes you understand why people fall in love with movies in the first place.

Unlike most revisits of previous box-office hits, it doesn’t rely on nostalgia for the original. It does, however, display a serious soft spot for a bygone era of moviegoing, when two photogenic stars, a simple high-concept premise and the promise of digitally rendered chaos was enough to put millions of asses in seats.

A prison drama less interested in crime and punishment than in catharsis and the creative power of theater, director Greg Kwedar’s chronicle of how the Rehabilitation Through the Arts program affects its participants wants you to focus on the humanity on display over everything else.