2024 was, to put it mildly, a lackadaisical year for movies. Most major studios reported losses in both revenue and profit, and not a single release managed to capture widespread attention or ignite meaningful cultural buzz. Films came and went with little fanfare, leaving behind box office returns as uninspiring as the movies themselves.
Now, as we enter summer 2025, the industry seems to be doubling down on what it knows best… or at least what it assumes still works. Nearly every major release aside from Pixar’s Elio, F1: The Movie, and Thunderbolts (which, while technically “original,” is still the 36th film in the MCU) is either a sequel, a reboot, or a reimagining of a decades-old IP. It’s a bit concerning, but not entirely surprising. Summer, after all, is when studios play it safe. What’s more comforting than a title you’ve already heard of, characters you already know, and a plot that loosely resembles something you saw ten years ago?
Still, there’s entertainment to be had. Some of these films are trying new things. Others are polishing the old things with just enough flair to make you forget you’ve seen them before. So without further ado, let’s dive headfirst into the most talked-about, overhyped, and potentially worthwhile releases of this year’s Summer of Film.
May 2, 2025: Thunderbolts
Photo Courtesy of Mint
In an effort to revitalize the MCU, Thunderbolts leaned into a more grungy aesthetic, backed by a cast of up-and-coming actors and actresses led by Florence Pugh. Unfortunately, this wasn’t enough to distinguish it from the very formula it was trying to escape. Despite being marketed as a departure from the trademark “that-just-happened” MCU humor, the film delivered more of the same. Fan-favorite Bucky Barnes was sidelined for most of the runtime, and the finale landed with a dull thud where the antagonist wasn’t actually defeated but subdued with “the power of friendship.”
Critically, the film fared decently, but that clearly didn’t translate into ticket sales. Thunderbolts became one of the bottom five lowest-grossing MCU films to date, even underperforming Captain America: Brave New World, itself considered a financial disappointment. This reinforces what should be obvious by now: reviews do not equal reception. If a movie truly resonates with audiences, especially a blockbuster popcorn flick, word of mouth will do what marketing budgets cannot. People will invite their friends, tell their families, and go back for a second watch.
Just look at Michael Bay’s Transformers movies. Critics hated them, yet they were wildly successful financially because people, quite simply, had fun and wanted others to experience that fun too. Suicide Squad (2016) is another textbook case, ruthlessly panned by critics but a cultural juggernaut in its own right, with quotable lines, Halloween costumes, and a lingering impact years after release.
Thunderbolts, on the other hand, has vanished from conversation barely two months out. It had the second-worst opening in MCU history, which suggests that, after years of warnings, Marvel’s box office dominance may finally be on its last legs.
May 23, 2025: Lilo & Stitch
Photo Courtesy of Animation Society
“White Light Mixer.” That’s the best way to describe this one; a colorful, crowd-pleasing Disney concoction engineered in a lab to hit every quadrant of the market. And hit it, it did: Lilo & Stitch is on track to reach a billion dollars at the global box office, a feat powered largely by the sheer recognizability of the brand. Stitch remains the adorable, marketable little chaos demon he’s always been, plastered across backpacks and store shelves everywhere.
As for the movie itself, I didn’t watch it personally, but I have younger siblings who did; and their verdict was clear: not quite the original, but still a fun time. The film makes numerous nods to its animated predecessor, and despite notable changes like the removal of Captain Gantu and a reworked portrayal of Nani that downplays her role as the dedicated caretaker of her younger sister Lilo; it manages to entertain.
It’s a nostalgia-driven remix, and audiences, especially younger viewers and families, seem more than happy to dance along to hula and Elvis as it continues to rack in the big bucks.
June 13, 2025: How to Train Your Dragon
Photo Courtesy of Screen Rant
Disney may have pioneered the modern live-action reboot blitz, but in 2025, DreamWorks finally threw its own battle axe into the arena with How to Train Your Dragon. Rather than “reimagine” the story à la Maleficent, DreamWorks took the very, and boy do I mean very, safe route: virtually every story beat, cinematic shot, and orchestral swell is lifted directly from the animated original. Even John Powell returns to recreate his iconic score, almost note for note with some flair added here-and-there for stylistic purposes. Gerard Butler even reprises his role as Stoick, this time in live action, which makes the experience feel less like a reboot and more like a 4K cosplay with studio funding.
Critically and financially, this approach seems to have worked. The film is a box office success and has been warmly received by audiences. Personally, though? I find it a bit lazy, and this is coming from someone who genuinely loves the original How to Train Your Dragon films. As a matter of fact, one of my fondest childhood memories is seeing the first movie in 3D with my dad when I was six. I remember crying at the end during a certain moment which I won’t mention despite the film having come out nearly 15 years ago at this point.
See, I once got a major Dragon Ball moment casually spoiled to me decades after it came out, and even though it’s practically public domain by now, it still hit like a freight train. So I won’t ruin this one for those of you who haven’t watched the original and might be interested in the live-action remake.
That said, this live-action rendition is undeniably gorgeous. The cinematography is rich, and, well, when you’re copying a modern animated masterpiece, it’s hard to go entirely wrong. There was indeed some early backlash bubbled up around the casting of Astrid, played by Nico Parker, who despite being three-fourths white, was initially accused of being a DEI checkbox by the usual suspects. But after the film dropped, her performance and chemistry with Hiccup’s actor (Mason Thames) won almost everyone over.
It’s a good reminder that skill tends to speak louder than noise, just as Jesse Owens did in the Olympics back in 1936.
June 20, 2025: Elio
Photo Courtesy of Culturemap
Flipping back from Disney to DreamWorks and now back again to Disney; if nothing else, summer 2025 is proof that a few major studios have a stranglehold on cinematic space. Elio, Pixar’s latest original film, is not bad by any stretch. It’s just… safe. Very safe.
Much of what made early Pixar and DreamWorks films special from those bursts of unfiltered creativity, weird one-liners that somehow made it to screen to the quiet moments of emotional devastation feel like they have been scrubbed away in favor of committee-written content. It’s like every scene passed through a risk filter. Elio doesn’t offend, but it doesn’t inspire either.
The “Grubhub animation” style seen in Luca and Turning Red is still present and just as divisive. As one Reddit user, u/NoNefariousness2144, put it:
““Prime Pixar thrived because of how distinct and iconic the characters looked. Characters like Sully and Wall-E were instantly memorable because we never had designs like them before! And even if they are based on a simple trope or idea like Lightning McQueen and The Incredibles, they have so much charm and polish they are instantly iconic. Meanwhile the characters in Elio and Luca look like they strolled out of a Grubhub ad. Pixar seems to be putting too much focus in pushing the boundaries of animation technology while neglecting actual memorable character design…”
Couldn’t have said it better myself. Elio is polished, pretty, yet quite forgettable. And unlike the early 2000s era of Pixar dominance, this film will likely not be spawning sequels, memes, or existential crises in the backseat of a minivan.
There’s also something uncanny about the film’s script and dialogue as it all feels slightly too manufactured. Maybe it’s just the industry, or maybe the recent writer protests have a point: some of these movies really do feel like they were written by AI trained on a database of pre-chewed narratives.
To be clear: Elio isn’t bad. It’s just not Pixar, at least not the Pixar that gave us Toy Story, Up, or Inside Out. Unless you have kids or little siblings and time to kill, there’s no compelling reason to watch this in theaters.
Photo Courtesy from IMDb
June 27, 2025: F1: The Movie
F1 is short for Formula 1 racing… unless you’re me, in which case it stood for the windowless detention room at the end of the hallway back in middle school where I would spend many afternoons in deep contemplation (I regret nothing).
But seriously, getting back on track, Hollywood’s latest foray into high-speed drama has been praised by many to be “Top Gun on wheels,” but with Brad Pitt into the driver’s seat, both literally and metaphorically. In this original story, Pitt plays a former Formula 1 champion who comes out of retirement to mentor a younger, up-and-coming driver. And while the plot sounds like it’s been borrowed from the back of a 2000s DVD case, early reactions suggest there’s real gas in the tank.
Though the film hasn’t hit theaters yet, early reactions point toward stunning cinematography, adrenaline-pumping action, and a surprisingly heartfelt execution of what is, frankly, a very familiar trope. But as with all well-worn tropes, it’s not about the premise; it’s about the execution. And F1 looks like it might just pull ahead of the pack.
Backed by a tight, star-studded cast and award-season buzz already gathering speed, this could very well be the best racing film since Rush (2013), or if you’re feeling nostalgic, since the heyday of ’80s motor flicks like Le Mans (1971) or Cannonball Run (1981).
If the early signs are anything to go by, F1 won’t just be a film for gearheads, it might be the kind of summer spectacle that reminds audiences why practical stunts and roaring engines still deserve a place on the big screen.
June 27, 2025: M3GAN 2.0
Photo Courtesy of Universal Pictures
M3GAN. The last film you’d expect to get a sequel, let alone a franchise. And yet here we are, staring down the metallic face of M3GAN 2.0, with director Garrett Johnstone already teasing audiences not to be shocked if we get five more of these. Because naturally, if there’s one thing horror has taught us, it’s that a modest budget and a psychotic doll can print money indefinitely.
The first M3GAN was a surprise box office juggernaut, raking in over $180 million globally off a meager $12 million budget. Critics rolled their eyes at the now-infamous “Megan Doll dance,” which set the internet ablaze; for better and worse. But internet mockery doesn’t always translate to failure. In fact, sometimes it’s free advertising. What mattered is that audiences showed up. And Universal took note.
Plot-wise, the original film followed a robotics engineer who designs a life-sized AI doll, M3GAN, to be a child’s emotional support companion. Initially programmed to protect her young owner, M3GAN’s protective instincts quickly spiral into homicidal overdrive, leading to some delightfully absurd moments of tech-based terror.
Now in M3GAN 2.0, the doll is back: rebooted and recalibrated, this time to take on a new threat: a far more advanced and rogue artificial intelligence. It’s all starting to sound suspiciously like Terminator 2: murderous machine becomes the lesser evil and has to save humanity from a greater evil bent on destroying human-kind. And honestly? That’s not a complaint given how unserious this whole franchise is.
Whether this becomes a true horror franchise or short-circuits halfway through remains to be seen, but so far, the formula of sleek tech and campy menace seems to be working.
July 2, 2025: Jurassic World: Rebirth
Photo Courtesy of IMDb
Set in the year 2027… five years after Jurassic World: Dominion and a staggering 34 years since the original Jurassic Park: Jurassic World: Rebirth marks the seventh entry in the long-running franchise… or era, epoch, cinematic dino-saga, whatever you want to call it.
After Chris Pratt took the reins from Sam Neill, his fellow MCU alum Scarlett Johansson now steps up as the new face of the franchise. With Rebirth, Universal is kicking off a fresh trilogy, the third one of the franchise and one that leaves behind the familiar faces and plotlines of the previous two. It’s a new cast playing new characters facing new dino-centric chaos, but still firmly rooted in the universe that Spielberg started all those years ago.
The title Rebirth isn’t just for flair, it signals a tonal and narrative reset. While the Jurassic World trilogy was often criticized for over-the-top action and cartoonishly frequent escapes from certain death, Rebirth aims for something sharper. Promotional material suggests a darker, grittier, and more grounded tone, evoking the feeling of a world where dinosaurs are a terrifying reality again and not just theme park mascots or corporate IP.
And yes, while early buzz confirms that the horror elements are light), what we get instead is a leaner, more action-focused film that balances spectacle with story. The good news? You don’t need to watch the previous six films to enjoy this one. It stands alone well, and intentionally so as it serves as an entry point for new audiences and a reboot of tone for longtime fans.
Critics have also praised Rebirth for its restraint with fanservice. Unlike the nostalgia-overload approach seen in other iconic franchises, nods to the original films are earned and sparing.
Rebirth’s predecessor “Jurassic World: Dominion,” may have made over a billion dollars, but it left fans and critics divided, with many calling it the creative low point of the franchise. Now, with Rebirth, Universal is aiming to course-correct. Whether this marks a true rebirth or a stillbirth, the box office will be the final judge.
July 11, 2025: Superman
Photo Courtesy of Screen Rant
Superman: the father of all superheroes, the face of an entire genre, and now the relaunch of a cinematic universe… again. For those keeping count, this marks the second time the Man of Steel has been tapped to kickstart a DC continuity in just over a decade. In 2013, Man of Steel opened the DCEU to mixed reactions and even more mixed priorities. But even that maelstrom of controversy doesn’t compare to the storm surrounding this year’s reboot: courtesy of wildly divisive director James Gunn.
It all began with Gunn’s infamous decision to fire fan-favorite Henry Cavill in 2022, citing a desire to start fresh. Yet, almost immediately, Gunn began cherry-picking DCEU characters and actors to bring into the “new” universe; many of whom just happened to be his friends or collaborators. So much for a clean slate.
The backlash hasn’t let up since. From wonky trailer shots that instantly became memes (courtesy of the same cinematographer behind The Flash, Henry Braham), to Gunn’s initial refusal to reshoot the film… only to later cave and make major changes after poor early fan screenings; there’s a palpable sense of déjà vu. DC fans remember what happened the last time Warner Bros. got cold feet and tried to inject some Marvel DNA into their darker universe. That decision, involving Zack Snyder’s departure and Joss Whedon’s replacement which ultimately bastardized the Justice League’s first big-screen appearance derailed what was once a promising franchise.
This new Superman appears to be following that same template, bringing in another former Marvel director in an attempt to emulate the MCU’s now-waning success. But here’s the catch: audiences are tired. Marvel fatigue is real, and that self-referential, wink-at-the-camera humor such as “His name is really what?!” has long since worn out its welcome. Gunn may have pioneered that style with Guardians of the Galaxy in 2014, but over a decade later it is now more trope than trend.
And here’s the oil-and-water problem: DC has always thrived on deeper, more philosophical storytelling. From the source material (Superman: Birthright, The Dark Knight Returns, Watchmen) to its most acclaimed films (The Dark Knight, Joker, Man of Steel, The Batman), this universe demands weight and tone. Swapping that out for slapstick and snark may prove disastrous.
Reception so far? Mixed. Henry Cavill fans remain bitter. Snyder loyalists mourn the abandoned Justice League v. Darkseid arc. Traditional DC fans fear that this is just the beginning of the MCU-ification of everything they once loved. And general audiences fear that overstuffing Superman’s debut film with over 10 heroes and villains total is a recipe for disaster.
But hey perhaps James Gunn’s dog digitally retextured and bleached into Superman’s loyal companion, Krypto; will charm enough kids to push this thing across the finish line, drowning out the grumblings of us more seasoned, world-weary nerds.
Whether this film bombs or breaks out remains to be seen. Opening weekend will likely be the litmus test for whether the praise (or hate) is grassroots or manufactured. But what’s clear is that Superman faces a steep climb: especially stacked up against Jurassic World: Rebirth and Fantastic Four: First Steps and the brand damage caused by DC’s recent string of flops like The Suicide Squad (2021), The Blue Beetle (2023), and Joker 2 (2024).
July 18, 2025: Smurfs
Photo Courtesy of Screen Rant
Pop royalty continues its migration into The Smurf Village, as the Smurfs return to the big screen with Rihanna stepping in as the voice of Smurfette, taking over from Demi Lovato, who herself took over from Katy Perry. Yes, this is now a fully-fledged lineage of pop stars voicing one cartoon character. Beyoncé next, anyone?
What’s amusing about this is how far Smurfette’s role has evolved. In the original animated series, she was just one of many Smurfs; occasionally featured, sure, but never the centerpiece. Now, with each reboot, she’s increasingly treated as the star of the show, front and center in marketing campaigns. It’s a curious case of promotional evolution where iconography can override canon.
This latest installment goes back to formula, returning to the live-action hybrid format that made the earlier films such a commercial success, the very same format that gave us Hank Azaria’s delightfully deranged take on Gargamel. It’s a notable shift from 2017’s Smurfs: The Lost Village, which went fully animated and bombed at the box office. While the first two Smurfs films raked in a solid $563 million and $347 million respectively, Lost Village lacked the magic, and the Azaria, and audiences seemed to notice.
That being said, while the IP is well-known and recognizable, that doesn’t guarantee a hit. Today’s kids likely didn’t grow up watching The Smurfs, and nostalgia only goes so far when your target audience doesn’t remember the thing you’re supposed to be nostalgic about.
That said, the film has made some clever moves. One early promo clip even took a jab at Superman, signaling a willingness to engage in kid-friendly satire and possibly steal attention away from other big July releases. The tone seems light, self-aware, and clearly geared toward younger viewers; trying to lure them from CGI canines to blue mushroom-dwellers.
But let’s be honest: casting a singer with a rabid fanbase doesn’t automatically translate into ticket sales. Cats (2019) tried that with Taylor Swift. Joker 2 (2024) tried it with Lady Gaga. Neither worked. So anyone betting on Rihanna alone to carry Smurfs should temper their expectations.
Will this film revitalize the brand and introduce a new generation to the blue brigade? Maybe. But for now, healthy skepticism seems not just fair, but necessary.
July 18, 2025: I Know What You Did Last Summer
Photo Courtesy of IMDb
Yes, again. Because heaven forbid a horror franchise from the ’90s stays dead. This reboot of the 1998 cult slasher, which was itself a product of the Scream-wave cash grab, follows the time-honored horror tradition of assuming a new cast, glossy filters, and a few social media references will trick audiences into thinking it’s fresh. Where have we seen this social-media infused horror revival before? Oh yes, Texas Chainsaw Massacre; which by no means was a bad film but it is starting to get stale because even that wasn’t the only example of it.
No word yet on whether this version adds anything truly new to the premise beyond a TikTok subplot or an influencer cameo, but one thing’s for sure; if you’ve seen any slasher movie ever, you already know what they did last summer. And who’s going to pay the price for it. Again.
July 25, 2025: The Fantastic Four: First Steps
Photo Courtesy of The Direct
We all remember Barbenheimer, the lightning-in-a-bottle event that brought people back to theaters en masse, pairing Oppenheimer and Barbie in an unlikely, beautiful cinematic double feature. It wasn’t just a meme; it was a lifeline for a post-COVID movie industry that was desperately trying to make cinema culture matter again.
Photo Courtesy of The Nerds District
Now, some fans are hoping lightning might strike twice, whispering about a new “Jurassic-tastic” or “Juras-tastic” event; pairing Jurassic World: Rebirth at the start of July with The Fantastic Four: First Steps at the end. Whether this one actually materializes or remains confined to Twitter threads and Reddit daydreams is anyone’s guess. But if there’s one thing this new Fantastic Four reboot has going for it, it’s this: it looks like a movie.
This is the third attempt to bring Marvel’s First Family to life in the 21st century. And yes, eyebrows were raised when Pedro Pascal was cast as Mr. Fantastic. Not because he lacks the acting chops, but because he’s been practically everywhere lately. Some viewers are just burned out on his face. Personally, I get it. I feel the same way whenever I see Timothée Chalamet or the inexplicably ubiquitous Pete Davidson (no offense… or maybe a little offense).
Still, fans of both the character and Pascal seem optimistic that he’ll prove the doubters wrong.
As for the film itself, it’s a visual standout. And the director, Matt Shakman, has even come out and stated that he will be relying a lot more on practical effects much like comic book movie legends Sam Raimi and Christopher Nolan. That shouldn’t need to be a compliment, and yet here we are. Too many recent superhero films (looking at you, Phase 4+ MCU and Superman) have looked like glorified car insurance commercials; flat, over-lit, with no sense of composition. But First Steps seems to understand that filmmaking is a visual medium. The cinematography is thoughtful. The CGI is sharp but not overwhelming. And the aesthetic pays respectful homage to Jack Kirby’s original comic book art, especially in the design of The Thing.
Now, yes, The Thing is once again fully CGI unlike the beautifully tactile practical suit from the early 2000s films; but the design is faithful to the source. Some fans have complained that his voice isn’t gruff enough, but it seems intentional: The Thing is, after all, just Ben Grimm who is an ordinary man trapped in an extraordinary, rocky exterior. The contrast between his monstrous body and human soul is key to the character. If director Matt Shakman leans into this, it could provide the emotional core this story needs.
And Marvel needs this movie. Thunderbolts bombed. Brave New World landed with a thud. The MCU is teetering on the edge of collapse or at least collapse into irrelevance. Maybe Marvel’s First Family can be the rejuvenation the genre needs. Because otherwise, we could be watching the superhero genre go the way of the Western…. a Hollywood staple that once ruled for decades, before fading into niche status.
August 1, 2025: The Naked Gun
Photo Courtesy of The Comic Buzz
Taking over for the late, great Leslie Nielsen is the current great Liam Neeson; better known for playing individualistic Jedi masters, grizzled dads, and assorted variations of Taken with a different hat. That being said, it won’t be Neeson’s first venture into comedy; far from it, so rest-assured that he has trained his dead-pan voice and delivery more than enough for this film.
The Naked Gun reboot leans hard into the absurdist, pratfall-heavy comedy that once defined the genre before it was overtaken by “edge,” shock value, and overly self-aware Twitter-inflected snark. Slapstick might be out of style, but that does not mean it can’t have a comeback.
The film isn’t exactly kid-friendly, but it’s that rare modern comedy trying to make you laugh without relying solely on vulgarity or political rage-bait. It’s a refreshing return to physical gags, ridiculous misunderstandings, and a healthy dose of schadenfreude: the glorious German word for laughing at someone else’s pain.
And Neeson? He seems to get it. He’s not phoning it in or trying to look cool based ont he trailers but instead fully committing to the bit as Detective Frank Drebin, unafraid to fall on his face both literally and figuratively. Take notes, Vin Diesel; sometimes it’s okay to lose or look dumb on screen.
August 1, 2025: The Bad Guys 2
Photo Courtesy of The Wrap
Now here’s something you don’t see often from DreamWorks these days: a sequel that isn’t to Shrek or Kung Fu Panda. The Bad Guys 2 picks up where the surprise 2022 hit left off: continuing the adventures of a group of reformed animal criminals with charm, swagger, and animation that don’t look like they were rendered in the Grubhub cinematic universe (cough, cough, Pixar).
The first film was a breath of fresh air: sleek, funny, with dynamic animation and solid voice work; apart from Awkwafina, who continues her mysterious tradition of being shoehorned into movies exactly when she’s least needed (Shang-Chi and Kung Fu Panda 4, anyone?). Still, the ensemble was strong, the character arcs surprisingly heartfelt, and the visuals just stylized enough to stand out from the algorithmic noise of other animated fare.
This sequel drops at the tail end of summer, pitting our charming anti-heroes against a new crew; rumored to be a female-led counterpart quite literally known as “The Bad Girls.” Which raises interesting questions: Will Diane Foxington (a.k.a. The Crimson Paw, voiced by Zazie Beetz) be tempted to join the rival team? Mediate the chaos? Or take a step back to let her found family duke it out with this new threat?
DreamWorks seems to be in a good place lately, embracing fresh IPs like The Wild Robot, rather than endlessly milking ogres and pandas. If The Bad Guys 2 sticks the landing, it could cement the franchise as something genuinely original in a sea of studio sameness.
August 25, 2025: The Toxic Avenger
Photo Courtesy of JoBlo Horror
The Toxic Avenger actually comes out at the time of a new dawn for us all. And no, I’m not preaching here as it’s quite literally the first day of the Fall 2025 semester at APU. So whether you want to catch a very early screening before your classes start, or celebrate your first day back at the Harvard of the West, maybe consider checking out this film starring Peter Dinklage as the titular Toxic Avenger. And if that isn’t enough of a sell, consider Elijah Wood of LOTR fame’s role as the major antagonist of the film.
Unless, of course, you’re a STEM student. In which case, you’re probably going to be bombarded with more content on Day One than you ever imagined was possible. Because believe me buddy, this ain’t high school no more.
Anyway, The Toxic Avenger technically premiered way back in 2023 at a film festival but struggled to find distribution until Cineverse picked up the rights in January 2025. It’s a reimagining of the 1984 cult classic of the same name, known for being gloriously low-budget, delightfully grotesque, and a little bit brilliant in its chaos.
This modern take follows a downtrodden janitor who after being exposed to toxic waste transforms into a hideously mutated yet oddly lovable antihero. Cue the satirical carnage, grotesque visuals, and morally questionable vigilante justice. Peter Dinklage steps into the mop-wielding lead role, bringing a level of gravitas that might just elevate the absurd premise into something genuinely compelling; or at least entertaining enough to justify skipping syllabus day (don’t quote me on that)
Either way, it’s radioactive revenge with heart. Proceed accordingly.
Conclusion: 2025, The Summer of (Maybe) Cinema
Whether it’s blue mutants, a superpowered family, dancing murderbots, or a janitor turned toxic avenger, Summer 2025 proves one thing: Hollywood’s still in the business of throwing everything at the wall to see what sticks: most preferably with a billion-dollar thud.
Reboots, requels, relaunches, and reimaginings dominate the landscape, but in the midst of the familiar IP soup, there are glimmers of genuine creativity, or at least moments when the formula hits just right. Maybe that’s enough.
So if you’re looking for raw spectacle, questionable studio decisions, or a sequel no one asked for but somehow works, there’s probably something here for you. Just don’t expect every movie to change your life. Sometimes, you just need something loud, shiny, or weird to fill a summer evening.
Because, at the end of the day, it’s still more fun to argue about movies with your friends than it is to pretend you’re caught up on every streaming show you forgot existed.
Happy moviegoing. Hopefully this “guide” serves you well in deciding which one of these films (or all of them if you have one of those fancy movie passes) you want to check out this summer.
-Rami Ezzeddine
The views and opinions expressed in this article are those of the author and do not necessarily reflect the official policy or position of Azusa Pacific University or its affiliates.