If you see George Miller's prequel Furiosa: A Mad Max Saga and find yourself off-put by more than a few shaky visual effects (a motif that'll continue throughout the film's two-and-a-half hours), a number of colorless performances, a rather pushy degree of myth-building, and one of the most fraudulent fake noses of the past few decades, you'll likely find your early irritation largely forgotten by the finale.

Considering that nearly all of its performances are motion-capture ones, I didn't expect to spend so much time at Kingdom of the Planet of the Apes marveling at the nuances of naturalistic human acting.

I found Challengers almost obscenely entertaining – a deep dive into competitive and sexual power dynamics so overflowing with passion that your admission ticket should come with a complimentary mini-fan.

Unbiased journlalists may seem hard to find these days. But as Alex Garland's film reminds us, they're still out there, and they're not the problems – they're the messengers. And you don't shoot the messengers. Except that here, other Americans very much do.