Girl Picture is a thoughtful, funny, and empathetic look at lives in flux.

Day Shift doesn’t offer much in the way of surprises, but audiences whose taste runs to horror comedies that are heavy on action and light on plot may enjoy sinking their teeth into this one.

While this new “Dragon Ball” spinoff may not be all things to all viewers, it’s also a thrilling showcase for Toriyama’s beloved characters.

Mack & Rita is silly, but it’s a strong, necessary kind of silly, a warm and embracing kind of silly. Keaton has rarely been so bubbling and bright, reminding us that regardless of age, being true to yourself is all that really counts in a person. The love will come no matter what.

This may be the first movie to apply the Chekhov’s gun rule to vultures, a portent sure to satisfy the more horror-minded ticket buyers, not to mention anyone else eager for the kind of back-to-basics survival excitement “Fall” refreshingly serves up in this dreary age of apocalyptic popcorn emptiness.

Aside from how unnecessary remakes tend to be, what’s imperative is to consider whether a story with such a simplistically offensive depiction of disability as an enchanting characteristic can have a place in today’s world, as we collectively try to move away from unchallenged amusement that thinks it’s uplifting even as it punches down.

Whether you laugh with I Love My Dad or never shake the queasy feeling in your stomach, Morosini’s film is remarkably sensitive and eerily confessional.

Through copious clips of studio work and bittersweet interviews with Vinton, his former colleagues, and his family members, we get a sense of both his strengths and weaknesses.

Hints of Koy’s stage charm burst through occasionally in Easter Sunday — mostly because he’s also playing a comedian trying to hit the big time, so stand-up-like bits are built in (or crammed in) — but as directed by Jay Chandrasekhar (“Super Troopers”), who also has a small role as an agent, this feature opportunity is a woefully run-of-the-mill, laugh-challenged attempt to translate Koy’s comedy to the big screen.

There’s an inherent push and pull to Bodies Bodies Bodies, a movie that wants to be a send-up for a certain type of young person but also doesn’t want to be “about” much of anything. The horror genre has fallen victim to Big Important Theme–ism of late, and it’s a relief that “Bodies Bodies Bodies” doesn’t descend into a lecture (in fact, it descends into many funny, insincere ones instead). But it all doesn’t amount to very much at all.

The film’s best scenes are, in a way, the flip side to its weaker ones: the closeness between Castro and her subjects lessens their objectivity but strengthens their intimacy.

Prey is a glorious monster flick, a sly revisionist Western and a really cool “Predator” sequel for viewers who don’t mind a little fan service here and there.

Despite having an emotional arc that becomes evident within its first few minutes, Luck registers as original enough conceptually to maintain one’s interest as we follow the formulaic structure of its screenplay. The resulting fable feels like a typical case of “you’ve definitely seen this before, but not precisely in this manner.”

Logan is more interested in psychological horror than in the typical slice-and-dice of slasher movies, and in several scenes here he achieves a remarkable intensity.

All Bullet Train had to be was high-gloss, all-star, late-summer nonsense, but instead it gives high-gloss, all-star, late-summer nonsense a bad name.

Though the religious component is written broadly, the impact is hardly more surreal than many elements of 21st-century reality.

While not as anarchic or outrageously hilarious as “Teen Titans GO! to the Movies,” this latest all-ages animated adventure from DC Comics and Warner Bros. nonetheless has — and offers — lots of fun with the four-legged counterparts of a Justice League that’s more “Super Friends” than Snyder Cut.

Although it’s extremely competent, it fails to add a new perspective to the story, or a distinctive approach to its telling.

Director Jono McLeod’s filmmaking itself is inventive and odd, and that’s almost enough – emphasis on the word almost – to make up for the fact that the story itself is something of a letdown.

Without a commitment to its tone, How To Please A Woman might help its titular woman, but it leaves its audience quite dissatisfied.

Big swings can make for big misses, and that’s the situation writer-director Quinn Shephard’s internet satire-screed “Not Okay” finds itself in, lining up all kinds of juicy targets regarding fame and shame in our social media age, but proving not so discerning about character, humor, and story when it comes to following-through.

This ultimately feels like four very promising movies mashed together, with spectacular highlights bumping into each other in a way that’s ultimately lacking, even as they all demonstrate the prowess and bravado of the filmmaker.

That the filmmakers manage to address so much of such a complicated life in just over 90 minutes speaks highly to their effectiveness, vision and economy.

If only Anything’s Possible had been content to depict this relationship in all its newness onscreen without burdening these two appealing characters with a pile-on of issues more suited to a newspaper editorial than a narrative feature.

Unfortunately, the movie’s unexpected plot twist violently re-directs its treacly uplift narrative for the sake of a Hail Mary conclusion that’s almost ridiculous enough to be campy fun. It’s not though, since the twist in question feels like a last-ditch effort to convince viewers that the movie’s otherwise plain story, credited to Vera Herbert (series writer on “This Is Us”), has more depth than it does.

Mounia Akl’s debut feature film Costa Brava, Lebanon is valiant filmmaking. Using the beauty of cinema to show the destruction of man’s cruelty to the environment is not just effective — it’s heartbreaking.

We can, thanks to movies like this one, continue to bear witness. But we will never truly know the reality he tries so hard to unearth, and that remains our burden to hold.

Kusijanovic isn’t interested in tipping her hand as this coming-of-age story turns into one more cinematic journey by a young woman through an inhospitable world.