What do you get when you give $130-175 million to a filmmaker who, after nearly 30 years in the business, has never helmed a blockbuster, or even a movie that grossed more than $41 million domestic? If you're Warner Bros., which granted a nine-figure budget to Paul Thomas Anderson, you probably get all sorts of happy, because the writer/director's new screwball epic One Battle After Another is going through the roof in every imaginable way. Better still, it deserves to.

Director Kogonada's and screenwriter Seth Reiss' self-help session in the guise of cinema gives you no reason to believe in it, and despite their geniality, we consequently can't believe in Margot Robbie and Colin Farrell, either.

Little of actual import happens in either Downton Abbey: The Grand Finale or Spinal Tap II: The End Continues, two sequels – and theoretically climactic ones – to culturally beloved properties that happened to debut on the same day. (Had they arrived one week earlier, the films could've shared an opening weekend, and made an unofficial three-fer, with The Conjuring: Last Rites.) It's doubtful, though, that their fan bases will complain much.

Now that the series' third, purportedly final sequel is upon us, am I going to miss Ed and Lorraine Warren, the blissfully married paranormal investigators who've been shepherding the Conjuring movies – and who've been warmly played by Patrick Wilson and Vera Farmiga – since the horror franchise debuted in 2013? Yes and no, I guess.

If you're a fan of the 1989 marital slapstick The War of the Roses, which has to rank among the nastiest and funniest black comedies ever released by a major Hollywood studio, the opening minutes of director Jay Roach's and screenwriter Tony McNamara's re-imagining The Roses are both enormously satisfying and preemptively disappointing.

As a way of acknowledging the brief time they'll likely stay in theaters, here are brief ruminations on four all-but-abandoned late-August titles, in escalating order from not-awful to actually-pretty-great.

Because I'm predisposed to love Bob Odenkirk in anything, it says something about the man's unique charisma that I even managed to like him in Nobody 2, a comedic action thriller that falls apart in nearly every conceivable way.

In Weapons, writer/director Zach Cregger is almost too inventive, his apparent making-it-up-as-he-goes-along approach so reckless that it seems to stop mattering if what we're watching makes any earthly sense.

Alison Brie's and Dave Franco's arguably inappropriate chemistry might make this supremely clever, enjoyably gross body-horror comedy stronger than it would've been without them, because even when their characters are at their lowest communal ebb, you sense that these two will always fundamentally stick with one another. And stick with one another they do. They very much do.

By the finale, nearly everything of early interest has succumbed to the same ol' visually indistinct, destruction-of-the-universe meaninglessness, with the added hangup of the action being almost insultingly stupid.

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