With Hobbs & Shaw, the quirky “James Bond as a fun Disney movie” formula that brought this franchise its legions of fans finally begins to feel tired.

Fallen Kingdom understands the moral weight of the setup it’s been handed by the previous five movies. Even when it stumbles as a film, it has a definite point of view on what a humanity callous enough to revive a species for its own pleasure and inquiry ought to experience in return.

The appeal of the Equalizer series is in watching the everyday — including Washington himself — turn deadly. And like its hero, The Equalizer 2 still has it where it counts.

The result is sublimely ridiculous, or perhaps ridiculously sublime: the very definition of frothy summer entertainment, moderately (if unevenly) well-directed by Ol Parker, that works best if you just suspend your need for it all to make sense.

While Novitiate is unsteady in some places, it’s genuinely moving, bolstered by Qualley’s and Nicholson’s performances in particular, as well as a host of talented supporting actresses.

Large adult sad boys who want to take over the world and launch it into an apocalypse is something we’ve seen before (see: Loki in Avengers, Ultron in Avengers: Age of Ultron, Luther and Doomsday in Batman v. Superman: Dawn of Justice, Steppenwolf in Justice League). This formulaic story is something fit for the other guys. The more time spent on it, the less time WW1984 spends being wondrous.

The film is smartly designed to deliver its message into as many hearts as possible.

Its workmanlike cinematic language can’t quite capture the urgency and expansiveness of Didion’s vision as a writer, and how keenly and bitingly she managed to forecast the insanities that plague our time.

Thank You for Your Service is moving and unflinchingly honest — and its release comes at a time when its central theme feels depressingly relevant.

While the movie’s premise feels prone to the maudlin, it’s ultimately quite poignant; Wonder is a family-oriented tale in which people make mistakes in the way they treat one another, but learn and grow in a way that doesn’t feel condescending to the film’s younger audience.

The Journey is the rare hopeful political film rooted in both reality and very recent history.

Part metaphorical (which it jokes about halfway through), part homage to old Hollywood, part whodunit, and part social commentary on an America reeling from mid-century chaos, it’s overstuffed but still feels controlled.

What you see — the bright, beautiful sweetness of it all — is what you get. Just like the video game. And it doesn’t yearn to be much more than that.

The Great Hack isn’t revealing much that hasn’t been reported elsewhere, but it’s powerful in the ways it does so.

It’s frustrating, though, to see a movie so tight and entertaining in its action and so gangly in exposition. The result is a rambunctious female-driven revenge thriller, filled with tentpole moments of crackling verve that is knit together by flimsy exposition and voiceovers.

Oldman is excellent in the movie, playing a jolly, idiosyncratic, sometimes conflicted version of the British prime minister. But the movie Oldman is in isn’t as good as his performance. Darkest Hour is certainly engaging during its run time, but it’s weirdly forgettable after the fact.

Ready or Not takes its name from a game, an amusement for children, but it has something to say about some very grown-up concerns. And it’s both fun and deadly serious.

It’s not a particularly fresh plot, and the movie’s screenplay feels a tad limp, devoid of some of the potential for comedy. But Dumplin’ still manages to be entertaining, and if it hammers on its message a little too often and a little too clumsily, it’s still a fun romp at heart.

It’s fine! It’s perfectly pleasant! If you like teen movies, you’ll most likely enjoy watching it. And then you will most likely never think about it again.

As with most comedies, your mileage may vary wildly. It’s more of a celebration of its own existence than anything terribly fresh, but the jokes are solid and I laughed a lot, which I can’t say for most studio comedies of late.

It’s not mere fan service; the film tries very hard to sustain interest with new characters and developments that draw on the past without being handcuffed to it, throughout its sometimes ponderous 163-minute runtime. But far too often that attempt to be interesting fails.

For all of Tomb Raider’s strengths, it would still be a stretch to call it a good movie. It’s diverting, a good way to spend a couple of hours, but it’s hamstrung by something that’s unavoidable: The whole central concept — raiding tombs — is just, well, not that interesting.

The fun comes from seeing your favorite characters again, not finally resolving missing pieces that have tortured your sleep for six years. And on that front, El Camino delivers.

Its plot is hacky; it’s got some really clunky characters; the dialogue is, at times, unthinkably stupid. (“The way of water connects all things” is the kind of line that sounds profound until you really think about it.) But this new Avatar filled an awe-shaped void in my heart, and for that, I thank James Cameron.

The overstuffed Downsizing doesn’t totally work, but when it does, it’s fascinating.

I appreciate the aim of Mary Magdalene, and the ways it reimagines a familiar story with modern implications, even when it falls flat.

A hopeful break-up film, with three leads who sparkle together.

Throw in the earnest sweetness of Peter and MJ’s growing friendship, and Far From Home leaves us on as strong of a high as the low that its first act takes us to. That warm and fuzzy feeling makes it impossible not to think of how great a movie Far From Home could’ve been had it not tripped over its own feet in setting the stage, or unspooled itself from that tangled-up beginning.