Like Saturday Night Live itself, there are too many great comedians involved for it not to be at least occasionally funny. But it’s surely not among Neville’s most insightful films. Michaels guards his secrets like someone in the Witness Protection Program.

Maybe there’s just no time for things like “cohesive character development” or “a compelling story” when you’ve got to service as much Nintendo IP as humanly possible in barely 90 minutes before credits.

Hoppers director and co-writer Daniel Chong throws a lot of ingredients in the pot here, but I’m not sure they all blend together into a coherent stew. The film has a couple fun gags, an uplifting theme, and a touching subplot about Mabel and her grandmother (Karen Huie). Still, as a story it’s a bit of a jumble, as if someone took a nature doc and hopped it into a mystery movie that was hopped into a broad comedy.

Let me put it this way: When I look back at this franchise in another 30 years, Scream 7 is not going to be one of the installments I’m nostalgic about.

In a world where the lacerating corporate filmmaking satire The Studio already exists, broad jokes about wacky animal trainers and ego-driven actors trying to influence their projects to benefit their own roles just won’t cut it.

Sure, yes, technically speaking Zootopia 2 is intended for your children. This is a colorful, energetic, and extremely busy animated film about talking animals. But while these critters’ adventures keep the kids occupied, a lot of the movie’s humor, tucked into its corners and backgrounds of the frame, is aimed squarely at their parents and guardians, at least those who love a groan-inducing play on words.

Ultimately, the best creative argument in favor of making two Wicked movies is that it let the audience spend even more time with the story’s characters and the two lead performers, who really are terrific together.

Black Phone 2 conjures an artful milieu out of those disparate elements, and it’s saturated with the chilly ambiance of a classic campfire ghost story. But the actual story it tells never quite measures up to its superior influences, or even the previous entry in this series.

The best performance in the film actually comes from Gillian Anderson as Julian’s overbearing mother.

The final act pickles Jay Kelly’s tragicomic vibe into something more overtly and excessively sentimental.

Everything Safdie, Johnson, and Blunt do to conjure up this time and place is a technical achievement, but it never goes past that to a truly involving sports story. The Smashing Machine is sadly not a knockout. Call it a split decision instead.

At a certain point, Deliver Me From Nowhere sort of loses the thread of its stripped-down, unadorned approach.

It’s nice to see Reiner, McKean, Guest, and Shearer acknowledge their age and have some fun again, even if they never come close to matching the invention and creativity of the old Spinal Tap.

Is it a fun movie overall? Yes, although not quite as much fun as I had hoped. On paper, Shakman cast the four lead roles perfectly. In execution, I’m not sure any of his stars really found their groove as these characters yet. Or maybe the script flattened the Fantastic Four to the point where it left them no groove to find. Let’s put it this way: It’s a decent first step. There’s still room for improvement.

Frankly, the whole movie industry could use more original ideas and fewer looks back to the past. But this one is entertaining enough that I’ll give it a pass. By a small margin, it’s probably the best I Know What You Did Last Summer ever.

Beyond a few flashes of visual ingenuity, though, there really isn’t much to recommend about this movie.

Look past the surface of this remake and you’ll find ... basically the exact same movie you’ve seen before, and could watch at home anytime you want. There are no surprises, except maybe the total lack of surprises.

Forget about three branches from one tree; this is the first branch presented for the third time. They might as well have called it Karate Kid: Déjà Vu.

The old masters of early movie stunts who Cruise and McQuarrie so obviously admire knew that sometimes simpler was better.

The slasher-style kills are effective, and a couple of the tossed-off quips are good for some chuckles. (I liked when Leoni informed her guests that her butler was “making my famous moussaka” for dinner.) But a lot of the film lives up to its title. It’s just lifeless.

When all is said and done, The Alto Knights imparts very little about these two men that couldn’t be gleaned by reading their respective Wikipedia pages, and it does it at a sluggish pace and with little visual flair. Some of the biggest and best names to ever work in gangster movies contributed to this film; De Niro and Pileggi, obviously, but also producer Irwin Winkler and director Barry Levinson. Despite their many contributions to this genre in the past, they’ve got nothing new to say here. And they provide zero evidence that casting De Niro in both lead roles is anything more than a gimmick.

Novocaine belongs to the same cinemasochistic tradition as movies like Evil Dead II and Crank, where the audience is invited to derive twisted pleasure from watching a heroic leading man get the crap beaten out of him in inventive ways. It’s not as good as those movies. But on its own terms, it’s painless enough. Pleasurable even.

Like I said: Inconsistent.

Quan remains an extremely likable actor, as well as an impressive martial artist. (Even before Everything Everywhere All at Once, he had worked on several Hollywood productions as a fight choreographer.) It’s great to see him back on the screen, but he’s let down by his material here. When he’s not kicking butt, Love Hurts is downright painful.

Turning Mufasa’s rise to power into its own movie makes sense, although doing it in this style, and with so much prequelitis about less-essential elements of The Lion King mythos, still seems like a strange choice to me.

Without the musical heart or stirring adventure of the first movie, Moana 2 relies on a surprising amount of gross-out humor and meta jokes to keep audiences engaged.

Why make a Venom movie (much less three of them) if the character will never get to meet Spider-Man? Beyond the fact that it is sort of fun to see Tom Hardy act like a weirdo, I don’t think Sony ever came up with a satisfying answer to that question.

Reitman clearly made this film from a place of love and admiration for the institution of SNL and the people, then and now, who produce it. He might get the facts wrong at times; what he gets right is the feeling that every fan who grows up watching SNL imagines the show is like behind the scenes — giddy and chaotic and brimming with passionate creativity.