Sibling filmmakers Jeff and Michael Zimbalist’s riveting Nossa Chape (Our Team) reveals at first a team and a town that have been utterly destroyed by the unimaginable. Then, with the tension of a well-plotted sports drama, the documentary tracks the team’s rise from the ashes of grief back to something like normal.

The action scenes are complex masterpieces of speed and stunts that combine physical bits with fresh, exciting 3D effects.

There is only so much a director can do to bring surprise to certain stock elements—it would be refreshing to just once see a convoy survive a movie without being ambushed—but Sollima knits together big, sweeping aerial shots and tight-in, juddering angles that work each nerve not already done to pieces by all the automatic weapons fire and exploding vehicles.

Spiral is a classic example of diffuse, all-over-the-map storytelling that avoids addressing its fraught subject in any fresh way; indeed, the core topic often disappears from the narrative altogether.

The King tries to reclaim Presley by untangling the myths surrounding him. But with its dubious assertions and utter lack of empathy for its subject and his milieu, all The King ends up doing is further cloud our understanding of the musician.

Although uneven, both its conclusion and its hero make Izzy Gets The F*ck Across Town a journey worth taking.

Damsel is a worthwhile effort gleefully carried out by a dedicated ensemble—including the impossibly charming Butterscotch (Daisy in real life), who steals the screen one miniature step at a time.

The game plan seems to be to make the film as impenetrable as possible so no one will notice it is actually flatlining over pretty familiar turf.

Araby stays so grounded in acutely observed behavior, while still sufficiently elliptical in its storytelling methods, that it successfully avoids getting up on any particular soapbox.

Bayona fights against the script’s weaknesses to craft a movie that, against all odds, feels fresh, fun and even a bit vital. A lot of it’s dumb, and the human characters haven’t gotten any more compelling than they were in Jurassic World, but dammit, everything involving dinosaurs is top-notch.

If it were half an hour shorter, China Salesman (released overseas as Deadly Contract, the epitome of generic titling) might be a candidate for “so bad it’s good (or at least kind of fun)” status. But it’s not.

It's a slick, beautifully designed movie with no soul and very little subtext. If Animal, always mercifully succinct, were doing this review, he might have written: 'Snore!' Then he'd stick his head in the toilet bowl and flush.