The Wedding Guest is a thriller without thrills.

Because the film is such a technically dazzling marvel of staging, cinematography and sound, it is as physically and visually intoxicating as the punch, but Noe has loaded the transfixing, orgiastic display with land mines that will always keep you on your toes.

There’s gunplay aplenty here, but nothing about “The Kid” sets it apart from the many Billy the Kid movies that have preceded it.

When greed runs up against conscience, you’ve got a story. It does in Triple Frontier, and the story of that collision is a violent and thought-provoking one.

In other words: yes, it’s fun.

There’s a lovely sense, throughout the film, of how real life sometimes interrupts things, the way a child’s prattling disrupts the pretty wedding ceremony, or how even in the midst of grief breakfast must be made.

Greta is a disappointment from Jordan, who’s made far better movies (“The Crying Game,” “The End of the Affair” and, more recently, the elegant vampire film “Byzantium”), but Huppert seizes hold of the film and chills it, in a way that’s both shiver-inducing and bracing.

This is history brought to life, something absolutely unprecedented in the annals of humankind.

Take “Billy Elliot,” trade the refined world of ballet for the “soap opera in spandex” of professional wrestling, swap the preteen boy for a young woman, throw in The Rock — because every movie is better with The Rock, right? — and you’ve got Fighting With My Family, a shaggily likable underdog tale.

Frequent, fiery battle scenes are well mounted, and in between are tenderer moments.

With tonal inconsistencies and poorly written characters, any awe inspired by Alita: Battle Angel is replaced with a profound sense of confusion.

Isn’t It Romantic both spoofs rom-com conventions and embraces them; it’s a tricky balance, but it doesn’t fall off the wire.

If tense man-against-nature arm-wrestling is your jam (think Robert Redford in “All Is Lost,” but with snow and Mads Mikkelsen) this film makes for a compelling hour and a half; you know where it’s going, but you never quite believe it’ll actually get there.

Capernaum is a searing, unforgettable work.

It’s a bunch of plastic blocks that have an adventure, and it’s basically insane; not quite as pleasantly so as the first movie (the element of astonished surprise isn’t there), but hey, that’s a high bar. Everything is … oh, damn it, there I go again.

What we have here is mostly a straight-up, mildly raunchy rom-com, where everyone learns lessons and gets a happy ending. But Shankman gives it all an agreeable bounce, and Henson (better known for dramatic roles, in “Hidden Figures,” “The Curious Case of Benjamin Button” and TV’s “Empire”) zestfully dives into the comedy.

Rodriguez does just enough to keep things mildly interesting.

Its primary tone is wistful; a slow, reluctant goodbye, not just to an act but to an era. By its end, all you want is to see that dance, just one more time.

Let’s just say that things aren’t always what they seem, and that there is not enough popcorn in the world to make this particular twist go down.

Cold War seduces its viewer, in its brief running time. You might find, in the quiet of its poignant ending, that it has left its mark on your heart.

M. Night Shyamalan has crafted a very effective creepshow with Glass.

The picture’s ultimate destination is marked with an obviousness so bright it can be seen from space.

The Aspern Papers, brief as it is, needed more of a lightness of touch; if you weigh down melodrama too much, it dies.

While the structure occasionally feels a bit awkward, On the Basis of Sex has the kind of crowd-pleasing story that skims over any minor shortcomings; by its end, you’re ready to cheer.

If Beale Street Could Talk is a film about injustice, about patience and anger, beauty and despair — but, ultimately, it’s about love.

The film’s light, sardonic approach is a tricky match with its subject matter: 9/11; power-crazed, empty-souled politicians; dark ambitions. It’s entertaining, sure, but a lot of us might not feel like laughing.

It isn’t “Working Girl” — Second Act is more earnest and less funny — but it’s a pleasant enough diversion, helped along immensely by Lopez’s warm screen presence and by a first-rate Sassy Best Friend performance by Leah Remini.

It seems director James Wan had one overarching goal in making “Aquaman.” His prime directive? Crush the audience into submission.