Beat-thumping techno songs and score by Nine Inch Nails help it all go down easier, as does OG “Tron” guy Jeff Bridges dude-ing up a few scenes, but traveling to that nifty high-tech landscape in this third "Tron" outing has become a chore rather than a pleasure.

The Lost Bus is a cathartic quest and character study that works thanks to McConaughey’s steeliness and Greengrass’ ability to put you on the edge of your seat (even if it’s just the couch).

Not all the swings land in “The Smashing Machine.” Which is fine, given how hard Johnson hits (and gets hit) with this fascinating shift in his acting. Going to the mat here with the role of his life – so far at least – shows a performer whose true potential we're just now finally seeing.

What’s explosive doesn’t always equate to propulsive, however, in a stuffed narrative with pacing issues and a plot that doesn’t need two hours and 40 minutes to make its point.

It’s the kind of thing you’d bet would be emotionally manipulative – if only, because that'd be welcome compared to this emotionally disconnecting, sporadically nuanced narrative.

Rather than being an entertaining trainwreck, the finale nihilistically undermines all the good and thoughtful stuff that came before, doing the couple dirtier than they ever could to each other.

Although they haven’t collaborated in a while, this teaming of old friends Lee and Washington soars once it gets cooking.

It’s an ambitious move, trying to recreate a comedy style so iconic and specific. The cast all commit to the bit with 435% silliness, the old deadpan humor is still there and when the right jokes hit, they’ll leave you in literal tears, even if overall this update doesn’t arrest you as much as it tries hard to make you laugh for 85 minutes straight. (And some folks totally will.)

After two mediocre 2000s film featuring Marvel’s legendary superhero family, and an atrocious third outing in 2015, the foursome makes its Marvel Cinematic Universe debut in a combo sci-fi/disaster flick full of retrofuturistic 1960s flavor.

The movie features pervasive positivity, one really cool canine and a bright comic-book aesthetic. And while this fresh superhero landscape is extremely busy and a little bit familiar, it also feels lived-in and electric.

Heads of State is a bomb pop of a summer movie. It works as a fizzy, somewhat kid-friendly throwback to action-packed ‘80s partnerships – think “Tango & Cash” or “Lethal Weapon” – that doesn’t take itself too seriously and, for a starry streaming action flick, thankfully isn’t a lame duck.

Edwards has a penchant for large spectacle movies with a big budget and a bigger message (see: “Godzilla,” “Rogue One”), and while this “Rebirth” isn’t exactly a thinking man’s “Jurassic,” there's enough B-movie craziness to keep it enjoyable.

Rather than being clever like the original movie, a horror-tinged sci-fi satire/parental cautionary tale, sequel "M3GAN 2.0" is the type of combo goofy comedy/undercooked action flick that would earn an epic sick burn from M3GAN herself.

As an aging wheelman-for-hire on an underdog racing team, Pitt brings plenty of personality – and vroom-vroom steeliness – to the on-the-track thrills of the crowd-pleasing if mildly predictable F1.

Both embracing and deconstructing the genre, "Materialists" is a well-acted affair with three A-list leads – Johnson, Chris Evans and Pedro Pascal – and while certainly thoughtful, the film's strengths are upended by a mood-murdering melancholy.

Original writer/director Dean DeBlois returns for a revamped “Dragon” that feels like a different experience but is just as good as the original, with moments of wonder and awe featuring characters fleshed out in new ways – literally and figuratively.

If you want to go for the really scary stuff, there are plenty of other King movies for that. “Chuck” instead is something truly special, a moving fantasy of a life well lived and no dance step left untaken.

There’s no need to yearn for a female 007 or a woman Wick anymore – just hope for another film that’s all about Eve.

It’s an all-star swing that doesn’t totally connect, and is not even the most interesting variation on a theme here. Fortunately, the movie’s fresh-faced protagonist is likable enough to forgive its bumps and bruises.

That old “Ohana means family” riff still hits right in the feels, though what this latest outing lacks most is the first film’s electric charm.

Final Reckoning offers some of the franchise’s tensest moments, to the point where you feel exhausted (mostly in a good way) after nearly three hard-charging hours.

Storywise, it’s a solid if overlong tale of family and redemption – fans of “Yellowstone” or “Horizon” will find stuff to love. Where “Rust” stands out is in its look, a gorgeously shot production with an emphasis on contrasts and dark colors that’s a testament to the talents of Hutchins and fellow cinematographer Bianca Cline.

The satisfying adventure features side players from past projects like “Black Widow” and “Ant-Man and the Wasp” coming into their own, plus skillfully juggles bleak darkness and inspired humor in a surprisingly moving exploration of mental health.

Let Jason Statham wreck dudes with “The Beekeeper” and “A Working Man,” and let Affleck be a role model for empathetic masculinity – who can still wreck dudes if needed – with “The Accountant” movies.

With Sinners, an inimitable auteur makes the most of every surrealist detail and crafts a fright fest that’s musical and meaningful, mesmerizing and memorable.

[Kidman's] Lifetime-esque potboiler centers on a bored working mom who discovers her husband might not be on the level, but while the locale is postcard idyllic, the narrative is a never-ending slog, only getting halfway interesting with a silly third-act twist and a suddenly bloody finale.

The better-than-expected revamp strips away some of the forgettable matter – no charming princes here! Most importantly, "White" gives an inspired Rachel Zegler a different character arc and a smattering of original songs to let Snow strut as the fairest of them all.

Pratt can do lovable rogue in his sleep at this point, and Brown’s got a spunky young woman down pat. Both of them have some good lines and emotional moments but they mostly feel plug-and-play rather than mining anything new and exciting.