While there’s something admirable about Girls Like Girls and its refusal to tidy up the mess of queer adolescence (the film will no doubt be an instant classic for young sapphics), it unfortunately never deepens into something fully realized. It only gestures toward the feeling and atmosphere of emotional complexity, rather than materializing its substance in full.

Jackman, no slouch when it comes to playing men reckoning with the trail of dead they’ve left in their wake, is a godsend in the title role. Much like Cage’s sheer unpredictability elevated every moment of Pig, so, too, does Jackman’s eternally sturdy on-screen presence, even if his calm is meant to underline barely contained bloodlust, keep this version of Robin from becoming just another outlaw staring down fate.

The Mandalorian and Grogu is perfectly suitable as a summer flick to beckon you back to the theatres. But will it make a mark as part of the Star Wars mythology? This may not be quite the way.

By the end, the people being betrayed are the fans.

It is the kind of screenplay that erases itself with one minute of second thought.

What could have been a layered, insightful portrait of the most complicated, significant figure in pop-culture history has been reduced to a supersized music video slash concert documentary, the man in its mirror more of a faded reflection than anything else.

Parents seeking comfort in death to stay close to a lost child, as in Don’t Look Now, or being emotionally exhausted providing care in impossible circumstances, as in The Exorcist, feel like items being checked off in Lee Cronin’s The Mummy, not genuinely felt or grappled with.

For all the behind-the-scenes footage and ostensible opportunities to grill Michaels about everything and anything, Neville’s film walks away with the impression and insight that anyone paying even half-attention to network television over the past few decades already knows.

The concept might work for especially patient gamers, but rendered cinematically by director Genki Kawamura, the result is a frustrating and ultimately boring exercise in audience endurance.

There is some drama here, all right. But the curtain can’t draw down soon enough.

While the new doc was spurred by Roher’s own existential anxiety about what kind of AI-dominated world he would be bringing his unborn son into, the resulting film feels so determined to walk the middle road between doom times and boom times (hence its cheeky title) that its message cannot help but land as something almost algorithmically mushy.

While Ed Harris, as the cruel patriarch of the Redfellows, is not so much phoning his role in as he is sending it by carrier pigeon, it is Margaret Qualley and Glen Powell who do the most unintentional damage.

An ambitious but ultimately sloppy time-travel epic, Good Luck wants to deliver an incendiary critique of artificial intelligence and our reliance on big tech. Yet it ends up being so exhausting and weirdly dull that it will force audiences to pull out their phones out of sheer restlessness.

The film shifts its tone like an evasive minnow, at once circling the familiar visual grammar of true crime media and the slapstick fancies of a buddy comedy.

While Nicholas Hytner’s new film The Choral is, above all, exceedingly polite, there is no need to be genteel about the movie’s qualities. This is a period piece of insignificant impact and distressingly drippy intentions, its filmmakers so concerned with their project being considered handsome and respectable that they fail to spark any emotional response beyond the most passive of shoulder shrugs.

Similar to getting caught in the grip of a giant Amazonian snake, in which you have the privilege of hearing your bones break before the power of the embrace causes your veins to explode, the experience of watching Tom Gormican’s new action-comedy Anaconda is a painful one.

Nelson seems content to just swing one giant axe after another, hoping that he busts as many guts as he does brains. His intentions are naughty, and the result isn’t so nice. Even for those who prefer a little blood on their snow boots this time of year.

Ella McCay, the movie, feels like we’re being bear hugged by a lovable, slightly boozy old grand-uncle who genuinely hopes to find common ground with a new generation, but also can’t help being a little patronizing.

[Buckley's] all-in performance is riveting, and well balanced by Paul Mescal’s quieter intensity as the Bard, making the film worth watching – but never rescuing it from the cheap biographical determinism of its third act.

Exceptionally overlong, crammed with miscast performers putting in half the effort they should, and so overly pleased with its various (and rather middling) twists that it leaps from “clever” to “pompous” in one fell swoop, Wake Up Dead Man represents a hard and rough fall from grace.

The star’s eager-to-please persona and overgrown puppy-dog physicality keeps the film from falling into complete shtick. It is all the more remarkable a feat given that Phillip is a complete cipher of a character.

Presented with every opportunity to say or do something remotely new or compelling, Wright, typically a talented stylist, elects to shrug his shoulders, delivering a wafer-thin confection that is aggressively disinterested in both ideas and action.

While the original Now You See Me had a winking audacity that leaned into the absurdity of its bag of tricks, the newest installment feels rote and lacks the thrill of genuine surprise.

The script, which has a “story by” credit from Stuckmann’s wife and fellow genre enthusiast Samantha Elizabeth, jumps all over the place in tone, from wild to solemn, with no real resting place in between.

Ares is a mostly disposable and thoroughly dumb product of lazy franchise fetishism from filmmakers who could not seem to care less about what story they are trying to tell. But as a two-hour visual screensaver to a thunderous and hypnotic Nine Inch Nails soundtrack, Ares rules.

While there are several moments in the film, including two extended monologues, that remind audiences just how ferociously committed a performer Daniel can be, so much of Anemone feels a few dozen workshops away from being camera-ready.

While HIM’s visual and cinematographic landscapes might be stylistically evocative at times, they lack in narrative substance and a discerning formal logic, reducing images and themes rife with narrative potential into a series of hollowly aestheticized surfaces that squander the film’s own potential as well as the talent of its actors.

Kogonada fills the vacuousness in the script with knowing nods to all the performance and illusion we commit to when taking the leap – whether in love or (in its meta way) at the movies.