Kurt Jensen

It’s a nonstop annual slog in which 50 teen boys, all at least 18 years old and chosen by lottery, walk more than 300 miles through a dystopian Midwest landscape, using their own food supplies with water provided, for as long as the walk lasts.

The knockabout mix of demonology and Catholic vaudeville that has characterized a popular franchise gets what’s billed as its final outing in “The Conjuring: Last Rites” (Warner Bros.). As though to bring things full circle, though, this adieu is linked to one of the two main characters’ very first encounter with the forces of darkness.

“Don’t Let’s Go to the Dogs Tonight” is writer-director Embeth Davidtz’s adaptation of Alexandra Fuller’s 2001 memoir of her childhood in Zimbabwe (formerly Rhodesia). The respectful and evocative drama recounts its protagonist’s slowly dawning recognition of racial inequality in her homeland.

It’s too simplistic to refer to “Sorry, Baby” (A24) as a #MeToo movie. Yet the film is topical as well as important and compelling.