Not that Rob Thomas

Sure, Peter Parker (Tom Holland) can fix his Spidey suit. But can he fix himself? (Sony/Marvel) Note: This review is spoiler free. I promise. I am not a Marvel hater. After “Avengers: Endgame” in 2018, I’ve pretty much taken each new Marvel movie as it came, liking some (“Deadpool vs. Wolverine,” “Thunderbolts”) and not others (“Thor: Love and Thunder,” “Captain America: Brave New World”).

Don’t run with scissors, Olivia Wilde. (Magnolia Pictures) “I Want Your Sex” begins with Cooper Hoffman saying the f-word six times in a row, and ends with a blooper reel over the closing credits. Together, those two extremes capture the playful, raunchy vibe of Gregg Araki’s latest provocation, a brightly-colored, foul-mouthed and cheekily transgressive sex comedy.

“Ueck” tells the story about how a middling ballplayer became a beloved sports icon. I didn’t grow up in Wisconsin, so I knew Bob Uecker in the ‘80s as a national comedic celebrity – Miller Light pitchman, “Tonight Show” raconteur, “Mr. Belvidere” co-star.

John Early writes, directs and stars as the title character in “Maddie’s Secret.” (Magnolia Pictures) Sometimes a chef can serve you a dish that deserves praise for its complexity and daring, but at the same time just doesn’t taste very good. That’s the position I find myself in with John Early’s “Maddie’s Secret,” standing in near-awe at the big swing that the comedian takes as a writer-director-star, but also a little underwhelmed at the results.

A memory care facility nurse (Cemre Paksoy) falls under the spell of one of her patients in “Night Nurse.” (Independent Film Company) The opening credits of “Night Nurse” look like the cover of a dime-store pulp fiction novel, as an endless phone cord wraps itself around the body of a nurse in a starched white uniform as seductive piano music plays on the soundtrack.

They’re off to see the Wizard, the Wonderful Wizard of Hamm, in “Gail Daughtry and the Celebrity Sex Pass.” (Sony Pictures Classics) Nobody dares to be dumb quite like David Wain and Ken Marino. Part of the ‘90s MTV sketch comedy group “The State,” their 2001 breakthrough “Wet Hot American Summer” showed that any kind of gag was allowed if it made people laugh.

Like a sillier “Singin’ in the Rain” or a more restrained “Babylon,” “Minions & Monsters’ is at heart a love letter to the golden age of Hollywood. Or, at least, the banana-yellow age of Hollywood. Minions creator Pierre Coffin has made no secret of how his pill-shaped animated rascals in the “Despicable Me” and “Minions” movies were inspired by the slapstick comedy of the Three Stooges, Laurel & Hardy and more.

Angelina Jolie is an outsider in the world of French fashion in “Couture.” (Vertical Entertainment) French director Alice Winocour may be best known to American audiences for the 2015 movie “Mustang,” which looked at the close bond between five free-spirited sisters who chafe against the bonds of repressive Turkish society. Her new film, “Couture,” is about four women, but each barely crosses the paths of the others.

Milly Alcock, Eve Ridley and a whole lot of brown star in “Supergirl.” (DC Studios) One of my favorite parts in James Gunn’s “Superman” was the addition of Krypto, a slobbering, scruffy, naughty dog who happens to have superpowers. My dogs dream about becoming Krypto. Krypto returns in Craig Gillespie’s “Supergirl” – and then is immediately sidelined for most of the film. It’s one of many baffling missteps.

Scott Eastwood’s resemblance to his father Clint seems even stronger when he plays a World War II soldier in “Lucky Strike.” (Roadside Attractions) Having grown up watching Clint Eastwood in World War II movies like “Kelly’s Heroes” and “Where Eagles Dare,” there’s a little bit of an uncanny valley feeling seeing his son Scott in a green helmet and fatigues in “Lucky Strike.” That eerie sense of familiarity extends to all of Rod Davis Lurie’s movie, a throwback to old war movies where the bad...