Great actors and inspired performances can only help a film so much. And in the case of “A Good Person,” Zach Braff presents another competent movie that checks all of the dramatic boxes but does so in a way that feels like ChatGPT has already invaded Hollywood.

As a sports movie, “Air” is competent in all the right ways — good performances, strong dialogue, and a nice focus on 1980s production design and world-building — landing in the upper echelons of the Dad Movie lexicon.

Sometimes, you have to be really smart to be really stupid, and “Joy Ride” threads that needle with aplomb.

It’s about as well-acted and enjoyable a version of this particular thing as you’re likely to find.

A portrait of an eccentric town that almost feels like a social experiment, just as much as it’s a murder mystery, Last Stop Larrimah is a shaggy, fascinating tale that marries Duplass Brothers-style absurdity (they act as producers here) with the ever-popular true-crime genre to pretty enthralling results.

Johnson and Kendrick are just terrific together — ample chemistry, excellent comic byplay — and the sense of play, the feeling of one-upmanship in their scenes together, immediately cranks the picture up a notch.

Torres peels back layers of the immigrant story in something packaged as entertainment. It may appear whimsical, but you don’t need to dig too deep beneath the surface to find universal emotions underneath.

Mustache does its job. It gives Ilyas catalysts for growth other than the cookie duster hanging out under his nose, and the writing invites us to laugh with him, not at him because it’s one thing to laugh and another thing to sneer.

You Can Call Me Bill isn’t a travesty; hearing Shatner discuss his life is always fascinating. But instead, the film’s a missed opportunity to unpack one of the more enigmatic figures in our public consciousness.

Geoghegan’s Brooklyn 45 is largely able to rise above its shortcomings and deliver a unique, chilling story about the horrors of war and unsettling depths of humanity.

Every franchise has its blips, but the magic has fizzled here. Lightning hasn’t struck twice, and it’s a real shame.

There’s a lot of potential in a legal thriller set in the days before German reunification and the end of the Cold War, just as there’s potential in a colorful heist movie that upends the formula and makes the illegal legal. But Tetris fails to thread a particularly tricky needle, resulting in a movie that feels more like a failed ‘90s blockbuster than anything else.

Boston Strangler steps right up to the line of the hokiest girlboss tropes and narrowly avoids crossing into a cringeworthy injection of contemporary feminism into a historical narrative. Rather than blaring its priorities throughout, Ruskin’s film gradually reveals the biases suppressing the idea that women’s stories matter. It’s just enough of a twist on an otherwise imitative, iterative story to hold interest.

The movie’s practical and special effects are a rogues’ gallery of gougings, stabbings, shavings, and scalpings; those who like to have their stomachs turned will find much to cheer about. But is it actually scary – suspenseful, tense, trafficking in more than the cheap shock of a jump scare or vivid effect? Not really, no.

Throughout its trials and tribulations, Wild Life softly asks the question: what kind of life do you want to live? What kind of legacy do you want to leave behind? And these kinds of inspired actions certainly move the heart and soul and prove that the best of humanity has their heart in the right place at the very least.

Pure power, John Wick: Chapter 4 is as exhilarating as it is exhausting. With this wildly satisfying world tour de force, Reeves’ Wick transcends icon status delivering the perfect bone-crunching crescendo to one of the great action franchises in cinema history. It’s pure gold.

Once you get on this one’s wavelength, it’s wildly funny and delightfully subversive.

What Longoria has created is less a history lesson and more a fairy tale that reframes an American success story within California’s Hispanic community. You may doubt its accuracy, but the message will resonate, and that is a far more interesting conversation than how closely Flamin’ Hot matches the Montañez Wikipedia.

No matter how silly or severe the movie may get, Daley and Goldstein always approach the material on its merits. This is a fantasy adventure from people who seem to enjoy fantasy adventures without equivocation.

Gods Of Mexico is a film less interested in breaking down its conceptual framework — or even pushing forward a fully realized thesis — than it is about creating a structured cinematic experience.

While the first two-thirds of the film gets the job done, it’s the third act where 65 goes all out, and it sticks the landing perfectly.

It both ticks genre boxes and throws up some touches that elevate it, such as a car karaoke scene. While not groundbreaking, the audience will root for everyone here, both in front of and behind the camera.

Scream VI builds to a powerful third act of grisly mayhem that is one of the best in the series.

Sadly, good intentions aren’t enough, and as good as the organization’s work is, the film feels like a letdown to the very women whose stories kickstarted the whole thing in the first place.

If a filmmaker can’t be bothered to try, then audiences shouldn’t be asked to care.

Garrel here delivers a witty and elegantly constructed film that joyfully draws parallels between acting and lying, being and pretending, while remaining breezy, fun, eminently accessible and even welcoming.

There’s a way to find the humor in life with mental illness. The Year Between, with exceptions, isn’t it.

The cast does its best with what they’ve got but only so much can be done. The mission might be complete, but it’s hard to call it a success, and there were undoubtedly casualties.