Effervescent performances from an ebullient ensemble make Finding You a palatable and compelling female coming-of-age tale.

As directed by Taylor Sheridan, Those Who Wish Me Dead offers a much bigger sandbox for the gifted actor-turned-action maven, whose scripts for “Sicario” and “Hell or High Water” have launched him to the front of a genre dominated by CG robots, superheroes and other IP once associated with Saturday morning cartoons. Such movies are plenty popular, but this one marks a welcome departure — one intended for grown-ups seeking more “realistic” diversion — without shortchanging audiences when it comes to either spectacle or sound.

No, the “Saw” series hasn’t really changed. So depending on whether you’re a fan or not, eat up…or throw up.

Some of this is stirring stuff, and all of it is worth learning about, but as a documentary Citizen Penn is more diligent than riveting.

An exceptionally compelling Outback Western.

Moya’s vision may be bleak — and “vision” is the right word to describe the Spanish-born director’s stunning capacity to create images and atmosphere — but there’s something unnervingly familiar about the world he creates in his feature debut.

Despite some strikingly accomplished elements, the awkward whole never quite gels, sewn-together parts from “Red Dawn,” “Independence Day,” et al., failing to cohere amid major logic gaps, not to mention lead characters more off-putting than interesting.

A clever example of creativity thriving within the strict protocols of the coronavirus pandemic, tense confinement thriller Oxygen plays like “Buried” in outer space.

The film’s significant humor comes from amusingly implausible situations coupled with rapid-paced droll dialogue; its equally sizable heart derives from the script’s respect for society’s outcasts and Jensen’s way of nimbly endowing every character with their own emotional backstory, all in need of healing.

It has a pleasing brawn and sweep, and you get caught up in it. As meat-and-potatoes escapism, it’s good diner food served with extra ketchup.

An engaging for-kids ghost story whose fantasy elements are thoughtfully grounded by real-world concerns.

If the film falls short as a possible tale of heroic enlightenment, it’s still pretty absorbing, in the in-between moments, as a study of a dude still working out the intersections between wild public success and neurotic torments. To the extent that its middle and best section is really a story of politics driving someone already prone to depression deeper into it, that’s when The Boy From Medellín feels most timely.

Like the H character, Wrath of Man walks into the room confident and secure in its abilities, professional, efficient and potentially lethal. All of this is best experienced in a movie theater, if possible.

The three leads summon lovely chemistry, re-creating a dorky-kid dynamic in later life that feels like the perfect summation of the film’s almost Spielbergian belief that at 10 years of age we are our best and truest selves.

What’s good about the movie is that Crystal, who co-wrote and directed it, has an inside knowledge of the showbiz comedy world (as he demonstrated in 1992 when he directed and starred in the acerbically accomplished “Mr. Saturday Night”), and the prickly vivacity with which he portrays it roots the movie in something real.

Faya Dayi is predominantly a mood piece that seeks to evoke the leaf’s own perception-altering properties.

Despite having characters incessantly explain key plot points, Separation lacks basic logic.

Hopkins isn’t awful in The Virtuoso, but the movie that surrounds him is.

Its content and execution are innocuous to the point of tedium, while the protagonist is no undervalued sweetie but the kind of grating personality that can clear a room.

Overall, however, Best Summer Ever is too earnest and charming to ever feel smart-alecky or unduly spoofy, and the winning performances by DeVido and Wilson go a long way toward encouraging a serious emotional investment in the relationship between Sage and Tony.

While well cast and plenty compelling (including feisty turns from Christopher Walken and Christina Ricci), this reductive farmer drama deals in emotions more than explanations as it seeks to convey what it means for a little-guy grower like Percy Schmeiser to go up against Big Agro.

What lies beneath Things Heard & Seen are clichés.

Once again showing a keen eye for detail, Hákonarson naturalistically presents the rigors of farm work, the plainness of his solitary protagonists’ lives and their affection for their cows.

Tom Clancy’s Without Remorse is a lively formulaic action-hero origin story, dunked in combat grunge, that demonstrates how a resourceful lead actor can bend and heighten the meaning of a commercial thriller.

Chen’s delicate, nuanced portrait of the heartbreaks afflicting a dedicated schoolteacher and dutiful wife is suffused with love and humor, and directed with striking maturity and restraint.

Within its modest boundaries, Bloodthirsty does a creditable enough job balancing supernatural suspense with the drama of a young artist’s insecurities at a key early career juncture.

It’s an engaging, mostly well-acted tale, full of surprising twists, even if some seem a bit too on the nose.

Rest assured that there’s a wacky enjoyment to be had even when things don’t make sense.