It’s as if no aspect of Perfect Find were thought through because everyone expected that, whatever happened, Gabrielle Union could be counted on to carry the movie. She almost does, but doesn’t.

Basically, No Hard Feelings is everything you like about Jennifer Lawrence, brought together in one movie and then magnified: her down-to-earth irreverence, her comic timing, her idiosyncratic naturalness and her unexpected sensitivity.

Often the most exalted of filmmakers — like Terrence Malick, Ingmar Bergman and Alfred Hitchcock — have the ability to communicate their consciousness, so that you get the feeling that you’re inside their head, or they’re inside yours. Anderson has come close to doing that before, but this time he really does it.

Amid scattershot pop culture references, flying cars and squads of armored knights with laser-guided crossbows, Nimona makes a cry for acceptance that has mythic resonance.

You have never seen anything like this.

This is a horror movie the way the original “Ghostbusters” is a horror movie –– that is to say, not really — and like that film, there’s a “hanging out with friends” energy that gives The Blackening its charm.

The sequel is even more enjoyable than the first, with action sequences that are as good or better than anything you’ll see at the theater.

The Flash gets credit for effort, because this superhero movie isn’t trying to be stupid and convoluted. It gets there by accident.

For Pérez Biscayart, it’s the sound equivalent of a masterful silent-film performance, and for Perelman, it’s the welcome return of an important filmmaker.

In Elemental, we have a visually splendid and absolutely gorgeous rendering of a half-baked idea. For some of its running time, it can get by on looks. But ultimately, things like story and making sense start to matter, and that’s when the movie takes on water.

Unwittingly, Lynch/Oz ends up demonstrating the flimsiness of comparison as a tool of film criticism.

At its base level, Dalíland is all about what a drag it is getting old, especially for a narcissist. But more importantly, it’s also a cautionary tale about the dead-end that is narcissism — not just in life, but in art.

By the film’s gentle conclusion, we get a rich portrait of Nora and the bittersweet, itinerant nature of her past lives — and the commitment to art that’s remained her constant.

The only people to feel sorry for in Transformers: Rise of the Beasts are Anthony Ramos (“In the Heights”) and Dominique Fishback (“Swarm”) who play actual humans trying to save the planet, when in real life they’re just humans trying to save a movie. They’re fine, but they can’t make a dent in the awfulness.

While it plays with familiar themes, The Boogeyman is a step up from many modern mainstream horror titles. It’s a thoughtful, organic piece of filmmaking that just happens to have a monster in the middle.

Even more so than the original, the gravity-defying Spider-Man: Across the Spider-Verse is as close to a moving comic book as one can get.

Moore’s admirers made this biography an homage, and if you’re not already a fan, you may tire of the valentine.

There is not one line of dialogue or one sight gag in About My Father that can’t be found in other bad comedies, and Maniscalco . . . and director Laura Terruso seem to believe the path to humor is to go as far over the top as possible.

After 96 minutes with these people, you’ll care even less than you do now.

It’s an action and suspense film, and, like Butler’s earlier 2023 flick “Plane,” a good one. Impressive set pieces include a car chase through a small-town bazaar, and a midnight shootout between Tom, outfitted with night-vision goggles, and a helicopter.

In its modestly comic way, the movie delves into the question of when it’s better to lie than tell the truth.

The Little Mermaid origin story lacks room for this more feminist take. It simply is not deep enough.

Sean Mullin’s documentary It Ain’t Over is literally inside baseball. The film is essentially a Berra family project, an attempt to rehabilitate the professional reputation of someone who often doesn’t get his due as a player.

This new iteration may be interesting from a cultural perspective, if not particularly worthwhile on its own — unless you’re a Jack Harlow fan.

It’s revolutionary due to Sadiq’s care and close attention to detail with all of his characters. It’s a love letter to a place and people he knows intimately, and I hope to see much more of his work soon.

The pace of Master Gardener is measured, but there’s nothing relaxing about it.

If you love the “Fast & Furious” franchise, you will like Fast X. If you merely like the series, the new movie will leave you indifferent. And if you’ve never seen a “Fast & Furious” movie, Fast X is not the place to start. It’s a middling installment, a big step down from the stupid-wonderful “F9: The Fast Saga,” but with just enough of the crazy stunts and chases that you can’t find anywhere else.

Smith deserves a 21st century reassessment, but you won’t find it here.