Dosa uses July’s narration to frame the Kraffts’ story with a playful sense of wonder and whimsy — a sometimes overly intrusive, too neatly packaged device in a film where what’s on screen is so overwhelmingly powerful that it might not need the extra layer.

What to make of this glorious, intergalactic mess? There is no better answer than to swipe one of our hero’s catchphrases: “What a classic Thor adventure, Hurrah!”

Of course, you might ask, at a time of such turbulence in the world, what do 19th century upper-class romantic machinations have to do with, well, anything? To which we say: Whatever! Bring it on. Distract us with your lovely frocks flowing straight from the bosom, your exquisite bonnets with feathers, your real-estate porn in the countryside and your smart dinner-table repartee. We could do a lot worse.

For a not small segment of the audience for Minions: Rise of Gru, only one thing really needs to be said. The Minions are in it. That’s enough.

What makes The Black Phone stand out is how it perfectly captures what growing up was like in the often raw ’70s and an utter respect for the world of kids. Every adult is either dismissive and distant — or downright murderous.

Luhrmann never does anything by half measures, but perhaps one of the most striking thinks about Elvis is how ultimately restrained it is in the end.

Marcel the Shell With Shoes On could be considered a kids movie or an art-house indie (A24 is releasing). But its proper audience might be anyone who’s ever felt sanded down by life, and could use a roll in Marcel’s rover.

Thompson is truly better than ever and brings to life a complex and evolving person with humor, grace and a sharp edge. McCormack, meanwhile, is a star in the making. And together, the two are magnetic in this wonderfully adult film that is funny, sad, awkward, empowering and illuminating.

Raiff’s writing and direction keep the action moving crisply, and he knows his world — set not in Dallas but in Livingston, New Jersey — very well.

A dead-end wrong turn in the usually boundless Pixar universe. Buzz, himself, is a bit of a bore, too.

Ultimately, Spiderhead just seems a little unsure of what it is or what it’s supposed to be.

The film, directed by Jeremiah Zagar, isn’t the farce you might expect. Rather, it’s one of the most textured and affectionate films about basketball that’s come along in a long time. Starring Sandler as a road-weary NBA scout and with several teams’ worth of all-stars in cameos, Hustle has a surprisingly good handle and feel for the game.

It was a Hail Mary to bring back the “Jurassic Park” originals. But their big meeting with the “Jurassic World” cast has the unintended effect of reminding how little we have come to care about the new cast.

Lessin and Pildes do a masterful job of putting the Janes in historical context, seeing how their desire to offer safe abortions grew out of the revolutionary ’60s and yet how women’s issues were often deemed secondary to male-led efforts.

Okuno’s taut feature artfully reconstructs a Hitchcockian thriller around, yes, a blonde heroine in Monroe, but one with her own gaze and distinct anxieties.

Rylance is also one of those few actors who can power an entire film, and The Phantom of the Open definitely rides on the strength of his signature quirky energy as it tells the true-life story of Maurice Flitcroft, a shipyard crane operator from northern England who stunned the golfing world in 1976 by entering the British Open under false pretenses — he’d never played a round of golf — and shooting the worst qualifying round in Open history.

It may be more mystifying than illuminating when all is said and done, but it is certainly a uniquely captivating experience with wildly imaginative creations, interesting performances, challenging ideas and one of the best scores of the year.

The Bob’s Burgers Movie feels very easy and lived in thanks at least in part to the fact that its vocal cast has been doing this for over 200 episodes.

In the end, “A New Era” is a misnomer of a title — not much has changed, which actually may be the best gift to “Downton” fans. After a tough couple of years, you could do worse than this, the latest in what may end up being a line of sequels as long as the Crawley bloodline.

The problem with Men isn’t with the acting. It’s with a script that could be described as attempting at something like arty horror and can’t stick the landing. Often it is tedious, slow to build and pretentious.

If you must reboot an over 30-year-old Disney Channel cartoon like Chip ’n Dale: Rescue Rangers, you could do much worse than looking to “Who Framed Roger Rabbit” for inspiration. But it is a high bar and though Chip ‘n Dale might not reach the heights of that Robert Zemeckis film, it is still a pleasant surprise stuffed to the brim with pop culture references that children of the Chip ’n Dale era may enjoy.

Hold Your Fire... burrows into the real roots of an oft-replayed movie scenario with insight and care.

There wasn’t a great reason to take another shot at Firestarter. Besides, even if it’s lacking in originality, it’s also lacking something even more important: A personality.

The film handles Maverick’s personal stuff — wooing the barmaid, repairing his relationship with Goose’s kid — while also fulfilling its promise as an action movie. There are jets pulling 10Gs, the metal sound of cockpit sticks pulled in gear, epic dogfights and the whine of machinery balking at the demands put on it. The action even takes a few unexpected and thrilling turns.

Not surprisingly, Carmichael proves a director who is nothing if not confident and comfortable with the UNcomfortable. He keeps the action moving — at a few moments, the film even feels like an action pic.

To a remarkable degree, Happening is viscerally connected with its protagonist, closely detailing not just her navigation of social taboos and restrictions but capturing her unapologetic determination. It’s a movie about abortion, yes, but it’s also a coming-of-age tale about a woman’s resolve.

Raimi doesn’t take “Doctor Strange” to an entirely new tonal place, like, say Taika Waititi did with Thor. He mostly sticks to the framework established by Scott Derrickson.

Pearce, sweaty and grungy, steadies Memory; it’s his film as much as Neeson’s.