In director Lee Isaac Chung's disaster thriller, you sense them coming, but you're never quite prepared for them. They dominate the screen. They annihilate everything in their path. They leave you awestruck by Hollywood magic. I am, of course, referring to the dimpled grins of Glen Powell. The twisters in Twisters aren't bad, either.

Returning for their third consecutive blast of season-ending silliness in Rock Island's Lincoln Park, the Haus of Ruckus duo of Tee Green and Calvin Vo will lend their signature wit – and that of Guild founder Don Wooten – to a new version of the Aristophanes comedy Plutus, its July 20 through 28 run treating patrons to, as Green says, “an example of satire written in ancient Greece that still holds up in 2024. Which is a bummer.”

It makes perfect sense that Nicolas Cage would be cast as the titular monster in Longlegs, considering that writer/director Osgood Perkins' horror thriller is like the cinematic equivalent of most Cage performances: deliberately gonzo, weirdly earnest, alternately transfixing and repellent, and, in the end, perhaps trying a bit too hard.

A modern-day triptych of parables both ludicrous and resonant, and Yorgos Lanthimos' first project set in the United States, the movie probably won't find Academy Awards in the offing. That hardly matters, though, for a work that delivers this many belly laughs, most of them accompanying dropped jaws, and this much thematic meat to chew on.

How disappointing to find the Manhattan populace in this Quiet Place prequel adhering to a silence-is-golden policy within what seems like minutes of the first alien assault, and to find Day One subsequently adhering, essentially, to the same narrative blueprint as before.

If you're still coming down from the sexy, full-throttle charisma assault of Luca Guadagnino's Challengers, you'll likely be lifted right back up with writer/director Jeff Nichols' The Bikeriders, which equals that tennis-throuple melodrama in allure and watchability – and co-stars Mike Faist, to boot.

Easily Pixar's most satisfying entertainment of the decade, it's imaginative, thoughtful, and touching, and if nothing here rips your heart out in the manner of Bing Bong (thank God), you might find yourself laughing even harder than you did during the 2015 classic. The original had almost everything, but it didn't have a French-accented emotion named Ennui, nor a riotous 2D dog and his ambulatory fanny pack.

While I long ago stopped being surprised by Richard Linklater's ability to pull off the wildly improbable, if not seemingly impossible, it wasn't until his new-to-Netflix Hit Man that I imagined Linklater capable of a first-rate blend of Double Indemnity, Crimes & Misdemeanors, and Tootsie. I didn't think anyone was capable of that.

In the familial road-trip dramedy Ezra, Bobby Cannavale plays the leading role of struggling standup comic Max Brandel, and he's mad at everybody. Everybody.

If you see George Miller's prequel Furiosa: A Mad Max Saga and find yourself off-put by more than a few shaky visual effects (a motif that'll continue throughout the film's two-and-a-half hours), a number of colorless performances, a rather pushy degree of myth-building, and one of the most fraudulent fake noses of the past few decades, you'll likely find your early irritation largely forgotten by the finale.

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