They are outcasts, weirdos, laughing stocks and whatever you call Nanaue. That makes The Suicide Squad — as ridiculous as it is to say about a movie that renders a bloody rampage with gushes of animated daisies and birdies — kind of beautiful. Plus, the shark in jams is funny.

It is a fine adventure with two genuine movie stars that may very well become a rewatchable staple like the films it references. But on first watch, it mostly comes across as an earnest and safe homage.

Of course, it all comes down to a Shyamalan-style final twist — the most entertaining part of the film, but it comes way, way too late. Listen, we’re all up for some summer fun on the beach. But by the time we’re allowed in on the secret here, we’re feeling a bit tired.

Golding is simply not the right actor for the part. He’s not exactly bad, just miscast and misused. And despite the novel trimmings and flash around him, his character is woefully generic.

Thanks to Kilmer’s relentless drive to document things, Val is a remarkably intimate film and a moving one, too. For a performer who has come off as chilly and difficult, this doc doesn’t counter those perceptions as much as explain them.

One cannot fault Roadrunner for not coming up with clear answers. There rarely are clear answers, anyway, and this film seems to want to be about a life, not a death. A fascinating life, parts of which will forever remain unknown.

McKay, director of The Lego Movie, is most at home in humor, and The Tomorrow War can be funny. It’s less adept at some of the operatic notes it tries to strike, but, well, aliens can be tricky.

It’s a manic movie in a familiarly corporate kind of way that provides kids with a computer-generated candy rush. The movie’s own business imperatives occasionally show through like a leaky diaper.

Taylour Paige is phenomenal, for one. The movie, though, is a bold and admirable experiment that doesn’t totally work.

Here DeMonaco finds richness in flipping the script on traditional right-wing notions of the border and immigration.

With so many murky motives, there’s little to care about, no way to anticipate the next con and no sense of real peril.

As played by Johansson, excellent here, every action for Natasha is tinged with acceptance and revulsion for her own nature. Black Widow becomes, kind of stirringly, a movie not about franchise extension but sisterhood, improvised families and traumatic pasts.

And though the performances are riveting — standouts include Mahalia Jackson and Mavis Staples belting out Take My Hand, Precious Lord and the Edwin Hawkins Singers’ O Happy Day — it’s the shots of the all-ages crowd that makes this film come alive, with the vibrant fashions, the incredible faces, the excitement, the boredom and the humanity of it all packed into every frame.

Luckily, Neeson has a way of lending his rough-hewn dignity to even the most perfunctory of plots — because this one, it must be said, is perfunctory.

I Carry You with Me couldn’t be any more specific about the trials of an undocumented gay couple trying to carve out a place for themselves, but it’s that specificity that makes its themes and emotions all the more universal.

Much of F9 is kind of a slog. There are some not very dynamic car chases, a lot of flashbacks, ho-hum villains and an oddly prominent role for magnets. But when Taj and Roman reach zero gravity, the movie finally takes flight with goofy grandeur.

Casarosa’s film comes and goes like a soft summer breeze, but that doesn’t stop it from being utterly charming and, by the time of its magnificent final shot, a little devastating, too.

The film does a good job balancing the drama with the comedy however, and is helped by a strong supporting cast, including Lil Rel Howery and Anthony Carrigan as Matt’s best friends.

If there was a stylish chic in the first film, it’s gone in the second, which sometimes seems cloying in its attempt to recreate the first.

And for all the comedic talent in the film, from Curtin to Lloyd, who seem game for anything, there are precious few genuine laughs to be had. Perhaps the script should have allowed for more improvisation.

It’s exactly the kind of big, silly, occasionally exciting spectacle that have come to define summer movie season, for better or worse. There’s even an opening for a sequel.

All characters are beautifully cast, but a standout is Hawkins, who has the soulful voice of a young Christopher Jackson (the original Benny, who has a cameo here) and charisma that burns through the screen.

It’s an exploration that touches not just on policing and justice, but astronomy, politics, phrenology and race.

While it might not knock it out of the park, Edge of the World is still a very solid watch if a little slow-going and might also just inspire you to revisit some of the classics its indebted to which is its own small triumph.

While the franchise soldiers on unironically, the films may fail to keep up with the real world, where fears have metastasized.

Pointed as the message of Plan B is, nothing supersedes just letting these two characters — traditionally bit players at best in high-school comedies — be themselves. They’re a pair of the most authentic 17-year-olds lately seen at the movies, something owed very definitely to two stars in the making in Verma and Moroles.

Stone is always compelling, and with an ace nemesis in Thompson, she’s having a blast.

Anyone hooked on Mare of Easttown and looking for a holdover in between episodes would be well-served by the intrigue of The Dry. It’s actually a bit of a wonder that it wasn’t stretched out into a television series itself, but Connolly has a command on the pacing and The Dry never feels rushed or undercooked.