The most shocking thing about Avengers: Endgame is that there are several moments within this colossal movie that feel like a Marvel miracle. These are the pockets of time when what you watch on screen sends a shock of joy jumping through your skin, making your eyes go wide and watery at the spectacle.

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

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.

While its nightmare visuals are stellar, the real villain of the movie is its rotten writing, which turns Hellboy into hanging action sequences loosely stitched together by two or three sentences and a vague suggestion of a narrative.

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

Dumbo isn’t entirely unpleasant to watch — on the whole, it’s probably Burton’s best since Big Fish, whatever that’s worth — and while the scenes in which the elephant takes flight around the circus tent aren’t exactly magical, they’re pretty fun.

Shazam’s tale of orphans and wizardry is not perfect — Sivana is a stylish but ultimately forgettable menace — but it’s pretty close.

Us is more intuitive than explicatory, more visceral than diagrammatic; it’s horrific in a way that hangs onto your gut when it’s all over.

I was hoping for something higher, further, faster, and more.

Though it has some problems as a film — some of which are part and parcel of translating a book to the screen — Native Son still packs a punch, one that connects directly with the gut.

To be sure, The Lego Movie 2 is a lot of fun. If you loved the first movie or just need something to see in theaters, it won’t disappoint. It neatly subverts a bunch of the issues the first movie had, particularly when it came to how that movie portrayed its women characters. But it also loses a little something in terms of expectations versus reality.

You actually come away from Netflix’s Fyre feeling like you’ve got a sense of who McFarland is and why he was able to con so many people into giving him their time, respect, and millions in cash.

It’s a movie ostensibly interested in how comic book stories work, but it has the same problems as a lot of the comic book movies hitting the big screen these days. The big twist: Shyamalan seems to have not learned very much at all from his own movies.

There’s nothing flashy or innovative about On the Basis of Sex. It’s the very definition of a workmanlike film. But it’s a satisfying watch nonetheless, and a smart one too — just like its subject.

The Mule is a thinly characterized, clunkily realized showcase for its director, who may or may not be working out some personal issues on screen. Yes, there are some very funny moments, and Eastwood retains plenty of charm. But too often, the film feels slapped together, half-assed, and lacking some much-needed care. And nowhere is that more evident than in the way the characters themselves are written.

It’s entertaining enough to be worth watching for fans of the genre or of Bullock, who turns in a strong performance as a woman who has motherhood thrust onto her in a world loaded with peril.

Even if McKay thinks he’s making a fictionalized Fahrenheit 9/11, he’s accidentally succeeded in making a movie about our split consciousness.

Welcome to Marwen is a disastrously misconceived movie, but in such a boring way that it’s hard to imagine its target audience. Most of the time, big-screen disasters are hugely ambitious tales that completely miss the mark. This one hits the mark, but it’s probably not a target anybody should have been aiming at.

Marwencol brings you into Hogancamp’s world as a guest, and as his story slowly unfolds, you come to understand what these stories really mean to him and to his mental health. It’s a quiet, extraordinary film.

So in not sacrificing that human element, Bumblebee is a nostalgic delight that taps into not just the 1980s but youth in general.

Mortal Engines is visually spectacular, if a bit derivative. It’s a social allegory that goes for broke. And while it’s hardly a groundbreaking movie, it’s still pretty fun.

It’s focused on pleasing fans of the original without taking any risks. It’s a pleasant, diverting, modestly ambitious film, fun for the whole family. But it leaves much to be desired, too.

Aquaman’s greatest strength is its visual style. Even when it borders on bioluminescent whimsy, it’s so distinctly and ceaselessly its own, instead of mimicking its DC/Warner Bros. counterparts. You almost don’t mind that you’re watching comic book cheesiness or such a convoluted plot because, like Momoa’s hair, it’s just so fun to look at.

With interviews, clips, commentary, and more, the documentary serves as a quick primer on Welles as well as the film.

The Other Side of the Wind is best viewed as a meta-drama about Welles, laced with a barbed wit.

It’s not exactly for the faint of heart, and its wild zinging from plot point to plot point can get tiring. But if you’re on the hunt for a frightening and original horror movie, it’s a stellar choice.

Outlaw King is plenty entertaining, with a hint of humanity in Robert and Elizabeth’s courtship.

The result is a realist tale about labor, class, and cruelty, while also being a moral fable with a fantastical core.