Even though the raunchy comedy Good Boys, like the Jonah Hill/Michael Cera slapstick Superbad, is about nerdy best friends prepping for a party and boasts Superbad screenwriters Seth Rogen and Evan Goldberg as producers, I didn't spend much time at the new film reflecting on its 2007 cousin. I did, however, think a lot about Bugsy Malone, Alan Parker's 1976 kiddie musical that imagined a stereotypical 1930s gangster flick cast entirely with teens and tweens.

Ordinarily, it's the sort of movie I'd casually dispose of in a couple hundred words at the end of a series of reviews – a chaser after time spent on more worthy subjects. This past weekend, though, saw Hobbs & Shaw the only new offering in wide release, so I suppose a few hundred extra words are in order. That shouldn't be a problem, though. There's so much here to hate.

At about the 90-minute mark of director Jon Favreau's two-hour remake of The Lion King, we're finally (finally!) treated to a sequence that's visually rapturous, narratively transfixing, slyly touching and funny, and thematically transcendent all at once – everything that you wish Disney's new CGI behemoth was, and isn't, on a scene-by-scene basis.

Midsommar, the new cinematic freakout by Hereditary writer/director Ari Aster, opens with barely withheld sobs and closes on the image of an ear-to-ear grin – and despite the unsettling, emotionally raw 140 minutes in between, you might find yourself exiting the theater smiling just as hard.