It's a high point for everyone involved.

What makes Project Power entertaining is its canny combination of familiar ingredients in a textured real-world milieu that gives it fresh flavor. Well, that and the dynamic execution of co-directors Henry Joost and Ariel Schulman and their crack stunt and VFX teams.

Much like Rodriguez's Spy Kids films, We Can Be Heroes proves silly, light-hearted fun for its target audience, blissfully free of ponderousness and enlivened by antic humor.

This is the least fun of the Watts/Holland pictures by a wide margin (intentionally so, to some extent), but it’s a hell of a lot better than the last Spidey threequel, Sam Raimi’s overstuffed and ill-conceived Spider-Man 3.

The powerhouse voice cast is another plus; besides the aforementioned, it includes Lucy Liu, Bowen Yang, comedian Jo Koy and Greta Lee (Past Lives), among others. Director Raman Hui, making his feature debut, keeps the proceedings moving at a suitably brisk pace, with the colorful CGI animation providing one diverting image after another.

And yet, what makes Greenland stand out is how, at certain times, what we’re watching doesn’t seem so spectacular, but very much like the real thing — albeit with a fair amount of VFX and Butler’s own brand of sweaty, stress-bucket bravado.

With The Vanished, filmmaker and actor Peter Facinelli channels that fundamental fear into a compact, consistently unpredictable thriller that provides few reassurances, but plenty of surprises.

The title may sound incendiary, something left over from the Russ Meyer era, but Danny Wolf’s Skin: A History of Nudity in the Movies turns out to be informative and even-handed as well as entertaining.

Backed by a wealth of video footage, archival photographs and gig posters, Ellwood captures the determination with which the band thrust itself forward, neither glossing over nor digging too deep into the hint of ruthlessness with which early members — and later, original manager Ginger Canzoneri — were pushed aside as the band became big business.

The documentary, running a brief 75 minutes, at times feels rushed and cursory in its account of the magazine's 20-year existence. But it also, appropriately, boasts an energy and propulsive pace that feels just like rock and roll.

A good piece of science-fiction of the beauty and the beast school, the beast in this case being a monstrous combination of man and fish. It makes for solid horror-thrill entertainment.

The greatest documentaries cut deeper and more unflinchingly. But if The Way I See It sometimes skims along the surface, the potent images of a truly gifted president in action offer a welcome journey back to a more hopeful era.

Pfeiffer's performance in this uneven but charming adaptation of Patrick deWitt's 2018 novel certainly isn't her subtlest, but it ranks among her most captivatingly Pfeiffer-ian.

Whether you find this entertaining or repugnant will depend on your stomach for a despicable reality. But the movie delivers unquestionable pleasures in the pairing of Pike's monstrous manipulator with the always wonderful Dinklage's cool, calm killer, a man too smart not to recognize and respect his adversary's formidable intelligence.

The low-key Pearl proves all the more moving for its stylistic restraint.

It successfully imagines a place for its heroine in Holmes' world, then convinces young viewers that Enola needn't be constrained by that world's borders.

The movie has built up enough genuine warmth and displayed enough sensitivity that even the formulaic nature of its resolution does little to dull its impact.

A film that can be somewhat conventional in form, including a score that overdoes it on the pathos, but one that still provides a fascinating deep dive into organized failure.

The Boys in the Band in many ways is dated and formulaic. But it's also very much alive, an invaluable record of the destructive force of societal rejection, even in a bastion of liberal acceptance like New York City. Despite its flaws, this consistently engaging film provides a vital window for young queer audiences into the difficult lives of their forebears.

This is a raucous, happily irresponsible party that should help locked-in, bottled-up Americans release some steam. The only downside to its being released when we need laughs so desperately is that this is just the kind of pic that becomes several times as funny when seen in a packed theater.

Those with the stomach for a forcefully acted representation of the gut-wrenching impact and long-range after-effects of sudden infant death will be rewarded with moments both powerful and affecting.

Paper Spiders is a message film, but one that's spiked with welcome humor, and its excellent cast is led by the reliably compelling Lili Taylor as the afflicted woman, tormented and tormenting, and Stefania LaVie Owen as her smart and sensitive daughter.

With a compassionate eye for the downtrodden that has characterized all Gianfranco Rosi’s work, Notturno brings three years of shooting in Middle East war zones to the screen in an impressionistic collage of ordinary people caught up in conflict.

What makes the film work as well as it does, at least up to a point, are the perfectly calibrated performances. Folkins is superb as the socially maladroit Andy, making his character sympathetic in his genuine satisfaction in being a caretaker despite the personal toll it enacts. And Wheaton, whose entire performance consists of sitting in a chair and talking directly to the camera, uses his innate likeability to at first disarming and then chillingly creepy effect.

Red, White & Wasted serves a valuable function by showcasing a culture and way of life with which many will be unfamiliar, and illustrating the financial hardships with which these folks are struggling. But that doesn't make spending time with them any easier.

I Am Greta is a smoothly constructed view of a heroine in the making, and of how the world largely embraced and sometimes dismissed her.

The film has its own fascination that rises above the type of music being played and sung.

Another Round ultimately has little fresh or profound to say about intoxication and addiction, but it is an engaging tribute to friendship, family and bacchanalian hedonism in moderation.