But for all its fast-paced zaniness, The Mitchells vs. the Machines, scripted by Rianda and his writing partner Jeff Rowe (also co-director), is basically a good old-fashioned family road trip movie, and the Mitchells slide in somewhere between the Griswolds and a more accident-prone Incredibles.

A well-cast and often entertaining but campy and sometimes obvious thriller starring Amanda Seyfried and James Norton.

The good news is that Without Remorse is pretty great when it comes to the action, and there is a lot of it.

Simon McQuoid does a decent job on his feature directorial debut, giving us a constantly staggered hits of dopamine in the form of controlled violence.

They’re just two strangers thrust together by this surrogacy agreement and spending time with them is not fun, engaging or enlightening enough to sustain a movie.

Gunda ultimately falls somewhere between banal and profound. Maybe it’s both.

Monday has an artsy, improvised feel, but also falls prey to some pretty standard rom-com tropes.

It’s a tedious mess to endure and seemed like way more fun making than watching.

By burrowing within the brutal propaganda of apartheid, Hermanus, in his intensely expressive, achingly sorrowful fourth film, has captured a mean machinery at work — one that still abides, long after the end of apartheid.

Voyagers is simply a semi-effective thriller with about as much emotional intelligence as its lab-produced, hormone-controlled, sequestered youngsters.

Concrete Cowboy, an impressive debut by writer-director Ricky Staub that overcomes formulaic dialogue and we-saw-that-coming plot twists with its sheer heart, is based on a novel, Ghetto Cowboy by Gregory Neri.

It doesn’t always work, but the writing is sharp, the performers top-notch and the set designs achingly beautiful.

Godzilla vs. Kong, the only creature feature to dare wide release in some time, is a rock ‘em-sock ’em monster-movie revival with all the requisite explosions, inane plot twists and skyscraper smashing to satisfy most lovers of gigantic amphibians. Vive le cinéma!

The film, as you would expect, walks us again through the tremendous upheavals in Turner’s life. But it’s ultimately about Turner telling her story — why she struggles having to tell it; why she needs to tell it, anyway; and why she wants to be done with it.

Six Minutes to Midnight is entertaining enough if a little underwhelming.

Without spoiling any secrets, the film progresses in horror-film mode before, in its third act, tying things up in a somewhat clever, unexpected way. By then, though, you may have given up on this group.

While it might not be on the same level as Bridge of Spies, it’s solid, well-acted and enjoyable nonetheless.

It’s a smart film, certainly, but maybe not as smart as it wants to be. And there are a couple of clunkers that bring the mostly meditative experience to a halt.

Arteta (The Good Girl, Cedar Rapids) has an underrated ability at crafting comic, humanistic movies out of commercial concepts. But Yes Day slides too often into contrived, loudly scored montages of “fun” that don’t transfer to those of us watching. And while Garner and Ramirez are both very fine actors, neither of them is funny.

Overly long, bombastic and poorly focused.

Again, it all feels like a 30th reunion — maybe because it IS one — where the liquor flows, old stories are rehashed, the men haven’t aged quite as well as the women, the kids steal the show, and by the end you’re happy to have gone but feel no need to be at the next one.

Just as last year’s beekeeping beauty Honeyland, The Truffle Hunters is a richly allegorical documentary of a vanishing agricultural pastime.

Raya is undoubtedly a visual feast. It’s also the best kind of feminist film in that it’s one that doesn’t clobber you with the message. Raya is allowed to be awesome without the script shouting about it all the time and it’s better for it.

This does not come across as a vanity project that’s been intensely controlled by the star or the machinery around her, either. It’s refreshing. It’s also probably one of the last times we’ll all be invited into her life in this way.

A clever concept, not a profound film. Terrifically acted and finely crafted though it is, it’s a brilliant but hollow exercise in perspective that calls more attention to its artful orchestration than it does life or loss.

In the frustrating The United States vs. Billie Holiday, Day gives it her all as Holiday but she can’t save a film that is overstuffed and also thin. Director Lee Daniels and screenwriter Suzan-Lori Parks offer an unfocused, meandering work for much of the time, interrupted by devastating scenes that feel like a punch to the gut.

It doesn’t all fit together, and I Care a Lot has ultimately no way of resolving its fairly ludicrous plot. But it’s strong, gripping, unpredictable pulp, and Pike pulls something off that few else could as a protagonist. She’s quite detestable and completely compelling.

This film is a small miracle and a uniquely meditative experience.