Midsommar is a waking nightmare and I mean that in the best possible way.

It’s a winking, self-aware horror movie that will make you laugh even when things are drenched in blood.

While it’s a nice way to spend just short of two hours, it seems he could have sucked a little more out of those dusty old graves.

The plotting is clunky and haphazard. But when together, Thompson, Hemsworth and Nanjiani turn Men In Black: International into something funny and silly: a pleasant enough lark in formal wear.

Toy Story 4 is a blast and it’s great to be back with the gang.

How jokes this offensive can make it to the screen in 2019 is beyond comprehension and a bit of a shame, considering that this has so much else going for it including a delightful late-game appearance by the original Shaft, Richard Roundtree, who looks fantastic, by the way.

If the knock on “The Secret Life of Pets” was that it was a rip-off of “Toy Story,” then the second film better grounds itself in its own universe. Like its main three characters, it has learned to be comfortable in its own animated skin.

It’s all so handsomely shot and deliberately staged that you might at times worry that The Last Black Man in San Francisco is leaning more toward picturesque than profound. But when Talbot’s film rises to its rousing and sensitive climax, the fairy tale falls away and something authentically soulful emerges.

It’s an admirably fun and light movie about more serious issues of representation and equality.

Dark Phoenix is a whiff. The most suspenseful thing that happened had nothing to do with the movie at all, but the theater’s fire alarm that went off during a review screening during the epic climax.

Turn-your-brain-off summer fun, and doesn’t need to be anything more than that.

The insanely winning Booksmart boasts too many breakthroughs to count. There are the two leads, Kaitlyn Dever and Beanie Feldstein, both of whom we’ve seen before but not like this. There is the director, Olivia Wilde, whose debut behind the camera is remarkably assured. And then there is the teen comedy genre, itself, which Booksmart has blown wide open.

Brightburn was a good idea. Unfortunately the creativity stopped there.

It’s pretty clear after watching the new live-action Aladdin that doubts about Will Smith’s casting as the Genie are overblown. It’s the guy behind the camera who should be doubted. And stuffed into a small lamp forever.

Sincerity is what anchors this film — especially Swinton Byrne’s astonishingly sincere performance.

Rocketman is happiest with its feet far off the ground in a dreamy pop splendor, with headlights all along the highway.

The driving engine behind the film — a whirlwind 24-hour romance — is contrived, underwhelming and perhaps worst of all, unconvincing.

There is no doubt that these sequences are quite easily, in form and execution, a cut above what most any other action film is currently doing.

The Biggest Little Farm can at times feel like a larger, better-produced version of the kind of viral video that spreads on Facebook, equal parts uplifting and self-congratulating. It’s a self-contained film about a self-contained paradise.

Poms really wants to be a sweet movie with a sweet message, but it’s hard to buy into it when none of the squad gets significant backstories, inner lives or even enough dialogue to give them distinct personalities. They’re just there to be punching bags for other characters and the movie.

You’ve played Pokémon Go, right? Call this one Pokémon Don’t Go.

Some have argued that the film glorifies its subject. It doesn’t, really. But it doesn’t explain him, either. And that leads to another question, which is, if there’s nothing really new to say about Ted Bundy, need we be saying anything?

It’s not a perfect film, it lags at times and at over two hours it is far too long, but Theron and Rogen have a natural chemistry that makes spending a couple hours with them, even in the dullish moments, a joy.

The dance sequences, in training and performance, are magnificent. Fiennes is fascinated by the athleticism of ballet, and the granular details of the flexing muscles in feet and forearms.

Generous in humor, spirit and sentimentality, Anthony and Joe Russo's Endgame is a surprisingly full feast of blockbuster-making that, through some time-traveling magic, looks back nostalgically at Marvel's decade of world domination. This is the Marvel machine working at high gear, in full control of its myth-making powers and uncovering more emotion in its fictional cosmos than ever before.

Plotlines are abandoned at will, there are set ups for things that never come back and some suspiciously malleable “monster-logic” that makes the whole endeavor seem a little lazy and half-baked.

Someone Great has not exactly rewritten the rom-com rule book. Where it distinguishes itself is in the fresh faces of it cast (the rom-com is not known as the most diverse of genres) and in focusing on the hard realities of breakup rather than the fairytale of falling in love.

A sort of high-gloss, nicely crafted daydream with a good score and generous references to LA noir films.