A sci-fi excursion that's neither as scientific as you may need nor as fictional as you may want, Tron: Ares finds the fate of humanity resting in the hands of either a global-weaponry mogul or a video-game mastermind. So, you know, we're pretty much effed any way you slice it.

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.

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.

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.