At about the 90-minute mark of director Jon Favreau's two-hour remake of The Lion King, we're finally (finally!) treated to a sequence that's visually rapturous, narratively transfixing, slyly touching and funny, and thematically transcendent all at once – everything that you wish Disney's new CGI behemoth was, and isn't, on a scene-by-scene basis.

If there's any rule-of-thumb regarding high-concept movies, it's that their appeal – and, oftentimes, their plots – can be succinctly described on the fingers of one hand: “violent Nanjiani/Bautista action comedy,” for example, or “killer alligators in a hurricane.” In effect, those respective precis tell you everything you need to know about Michael Dowse's Stuber and Alexandre Aja's Crawl – except, perhaps, that both films are even more entertaining than those grabby five-word descriptions might suggest. Not a lot more, mind you … but entertaining enough, during my recent double-feature, to make me not regret the collective three hours spent in their high-concept company.

I should probably be knocking wood as I type this. But if my heart ever suddenly stops while you're in the vicinity, don't call for a defibrillator – call for Danny Boyle instead.

I read an article this past weekend devoted to our current, collective state of franchise fatigue, with the disappointing domestic box office for Godzilla: King of the Monsters, The Secret Life of Pets 2, and Dark Phoenix cited as proof that audiences are getting tired of seeing the same ol' things in newfangled packaging. What that “Are franchises finally over?!” piece failed to suggest, though, was that maybe these particular sequels weren't making major bank because they're just not good. And the third sequel to 1997's Men in Black might be the not-good-est of them all – an exhaustingly manic and just-plain-exhausting reboot to a series that should have ended with 2012's surprisingly clever Men in Black 3. The only real surprise here is that cleverness is in such depressingly slim supply.