Just when you think you’ve seen everything, here comes a movie where Jennifer Lopez tries to out-sass a computer program.

Jenny from the Block is in her Iron Man era with “Atlas” (★★½ out of four; rated PG-13; streaming Friday on Netflix), a sci-fi action thriller directed by Brad Peyton (“San Andreas”) that pairs two hot commodities: a pop-culture superstar and artificial intelligence.

The movie shares aspects with a bevy of films like “Blade Runner,” “The Terminator,” "The Iron Giant" and “Pacific Rim,” and it’s best to not think too hard about the science involved. Yet there’s a scrappiness to “Atlas” that pairs well with a human/machine bonding narrative and a fish-out-of-water Lopez trying to figure out how to work a super cool, high-tech armored suit and not die spectacularly.

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But “Atlas” doesn’t have the best start, beginning with the mother of exposition dumps: In the future, AI has evolved to a dangerous degree and a robotic terrorist named Harlan (a charmless Simu Liu) has turned genocidal, wanting to wipe out most of mankind. He’s defeated and retreats into space, vowing to return, and in the ensuing 28 years, counterterrorism analyst Atlas Shepherd – whose mother invented Harlan and made him part of their family before he went bad – has been trying to find him.

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She’s distrustful of Al and also most humans: The antisocial Atlas’ only true love is coffee but she’s also crazy smart, and she figures out the galaxy where Harlan’s hiding. Atlas forces herself on a military space mission run by a no-nonsense colonel (Sterling K. Brown) to track down Harlan, but amid a sneak attack by cyborg bad guys, Atlas has to hop in a mech suit to survive. The caveat: to run the thing, she has to create a neural link with an onboard AI named Smith (voiced by Gregory James Cohan).

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Obviously, there’s a climactic throwdown with Harlan – you don’t need ChatGPT to figure out the predictable plot – and there are plenty of action scenes with spotty visual effects. But “Atlas” cooks most when it’s just Atlas and Smith, sniping and snarking at each other: He fixes her broken leg, her cursing expands his vocabulary, and slowly they figure out a way to coexist and become a formidable fighting unit. 

Lopez does well with the buddy comedy vibe as well as her whole "Atlas" character arc. The fact that she starts as a misanthropic hot mess – even her hair is unruly, though still movie star-ready – makes her an appealing character, one you root for as she becomes besties with a computer and finds herself in mortal danger every five minutes.

While “Atlas” doesn’t top the J. Lo movie canon – that’s rarefied air for the likes of “Out of Sight” and “Hustlers” – it’s certainly more interesting than a lot of her rom-com output. Her action-oriented vehicles such as this and the assassin thriller “The Mother,” plus B-movie “Anaconda” and sci-fi film “The Cell” back in the day, show a willing gameness to venture outside her A-list box.

It also helps when she finds the right dance partner – in this case, a wily AI. And in “Atlas,” that unlikely friendship forgives the bigger glitches.

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