Despite most everything else in the movie being predictable, Bray’s mystery is hard to guess.

An occasionally powerful, yet occasionally frustrating documentary.

It’s a well-made film in many ways but also frustratingly skin-deep for a news junkie like me.

The main appeal of Summerland, a considerable one, is that it allows Gemma Arterton to hold the screen for a nearly unbroken 90 minutes. It showcases her in a variety of modes and moods and provide some huge acting moments that make us recognize that, somewhere along the line, Arterton has become a powerhouse.

This film by Alison Ellwood feels thin. Anemic. Even shortsighted. Sure, the documentary frames the band’s story with that astounding fact of their first number one record, but beyond that underscored point, “The Go-Go’s” plays like paint by numbers for music documentaries.

Raunchy coming-of-age comedies that satirize religious hypocrisy don’t usually leave you going, “Aw, that was so sweet and innocent.” But director Karen Maine’s first feature, Yes, God, Yes, pulls off that neat trick in a surprising yet natural way.

Pike’s own commitment is wonderful to witness. Radioactive is a good movie, a bit more imaginative than most (at several points, the movie takes a quick leap into the future to show the various ways radioactivity has been used, for good and for ill), but Pike makes it something to see, simply by giving it everything.

Instead of slavishly appending cliched horror tropes onto his otherwise worthy script, Franco should have at least taken the horror genre seriously enough to investigate how he might stretch it and make it better. That was within his reach, if only he’d reached for it. Maybe next time he will.

In any case, Fatal Affair is one of those lucky efforts in which everything good about it is good and everything bad about it is fun. The cheesiness is part of the experience.

The best parts of Ai WeiWei: Yours Truly include the scenes at Ai’s studio in Beijing, as he conceives the project and we get a glimpse into how the sausage is made; and the titular focus on political prisoners.

Nikolaus Leytner’s competent, watchable but uninspired adaptation of the best-selling novel by Robert Seethaler does have a few attractions, chiefly a heartwarming farewell performance as Freud, the famed psychoanalyst, by the great Bruno Ganz, who died last year not long after filming.

An unusual and imaginative romantic comedy that takes the central idea of “Groundhog Day” and builds on it.

Just to re-emphasize, Relic is not a documentary about dementia, or a medically accurate look at the disease in the way that films such as “Away from Her” with Julie Christie or “Still Alice” with Julianne Moore were. It is a film that springs from the id, from deep-seated fear of a disease we don’t fully understand.

All of which is to say that, when it’s Hanks steering the ship and fighting the Nazis, it means something extra. It’s not just happening to him, or them, but to us. And so, we can better imagine what it cost those guys, who had to make that back-and-forth ocean voyage in the awful months before their leaders figured out how to sink the U-boats.

The Old Guard shows that, in the hands of a smart writer and director, something can be made of it that’s worthy of our attention. This genre can grow. Let’s hope it does.

Desperados is a lot of fun and announces “Saturday Night Live” alum Nasim Pedrad as a comic actress in the tradition of Sandra Bullock.

Shepard always keeps things on track, and his well-paced, beautifully scored film makes us see San Francisco in an atypical light as welcoming and beautiful, yes, but also bewildering, lonely and intimidating. Indeed, though all the refugees make varying degrees of progress, we can’t help but feel that a rocky road still lies ahead for them.

A rambling documentary that freely moves back and forth through time but maintains interest and cohesion by virtue of its subject. The more you watch Lewis, the more fascinating he gets.

Deneuve has fun with her best role in years.

Yet despite the interchangability of some of the characters, the last half of The Outpost — in which the two-day Battle of Kamdesh is condensed into an hour of horror — is a technical marvel, as the soldiers come under an attack as relentless as a tsunami.

To see performers of color so joyously at home in their roles as founding fathers and mothers, as leaders, as American myths was always one of the show’s chief gifts. In reenvisioning our past, it gave a salutary jolt to our present and helped remap our future.

The best thing about Ella Fitzgerald: Just One of Those Things, other than the music, is the way it evokes an era and reminds us that its subject was one of the great voices of the 20th century.

The movie is predictable at times, but also winning, with a thumping soundtrack and smartly written characters. Ortega, with his Peter-from-“Office Space”-deer-in-the-headlights look, is the movie’s appealing center.

At a brisk 101 minutes, My Spy doesn’t overstay its welcome. It knows exactly what it wants to be and how to get there, and it is made more engaging than it probably has any right to be thanks to the oversize charisma of its oversize star.

I don’t want to give too much away, but Amoo’s direction is strong, and his film moves in unexpected directions. Stil Williams’ cinematography is divine. Adewunmi and Ikumelo are excellent, and kudos to Pinnock, Tai Golding as young Femi, Denise Black as the foster mom, Demmy Ladipo as a gang leader and Ruthxjiah Bellenea as a potential love interest who shares Femi’s love for the Cure.

Even worse, Deerlaken, Wis., is supposed to be the “real” America, but Stewart has little interest in depicting an honest version of Midwesterners, or their problems. No actual issues that affect the town are discussed. (I have no idea what the economy of the town is, if people are struggling or what.)

Athlete A gives us the story behind the story. It’s a terrific journalism movie, but it’s also a story of young women who persevered and found justice against the odds.

It’s low-key in tone and not a splatter fest, even remotely. You Should Have Left is horror for a thinking audience.