Hood to Coast, the world’s largest relay race, is a 197-mile trek from the top of Mount Hood to the coast of Oregon. Each year, 1,000 teams composed of 12 runners each gather to test the limits of their physical strength as they traverse Oregon’s mountains and coastlines. The race, which was originally conceived as something of an ultra marathon, was designed as an opportunity for competitive runners to have a reprieve from the solitary nature of their sport.

It takes some serious chutzpah to make a “found footage” feature that humorously toys with a Western audience’s shared preconceived notions of classic folklore and hope against hope that people don’t dismiss it as merely another Blair Witch ripoff (which itself was a bit of ripoff, anyway).

The title of Mozart’s Sister emphasizes its key conflict: Nannerl Mozart is doomed to be overshadowed by her younger brother. (Though qualified, the original French title Nannerl, la soeur de Mozart at least included the heroine’s name.) This refreshingly unconventional biopic opens in the winter of 1766, with Leopold and Anna-Maria Mozart (Marc Barbe and Delphine Chuillot) and their musical children in the midst of a grueling tour of Europe, during which performances, lodging, and sustenance are never guaranteed.

Let me try to consider 30 Minutes Or Less slightly outside its niche of big-budget R-rated summer comedies — The Hangover Part II, Bridesmaids, Bad Teacher — and take it for a moment for what it wants to be. Aside from all the swearing, pop references, and wacky violence — the necessary ingredients for pleasing the young boys who will, god-willing, win it back its budget — Ruben Fleischer’s new comedy is about young men trying to make it — as friends and business partners — in the strip-malled outskirts of middle America.

The Tree, based on a book about how a family weathers the death of its father and matures, is a literalized metaphor. The tree stands in for the father, for the Father, for the family, and for some other things seemingly unintended. The central problem is that director Julie Bertuccelli takes the metaphor neither literally enough nor figuratively enough. It’s neither definitely spiritual nor definitely psychological.

It’s easy to get lost in Mysteries of Lisbon, a long, heady, free-flowing matryoshka of hidden pasts and passageways. I certainly did. Plot-wise, Raúl Ruiz’ film asks a great deal of the viewer, as it introduces new characters, reveals alternate identities, and skips to different decades and countries at the drop of a hat (or, rather, a cut). It’s also nearly five hours long, even longer in its original form as a television miniseries. But about halfway through, when my mind had already missed a temporal shift or two, I realized that getting lost is sort of the point.

The great writer William Goldman once said about the movies (I’m paraphrasing): Well-made should be the norm, not something we raise on a pedestal. No summer movie this year seems to better exemplify this aphorism than Rise of the Planet of the Apes, a surprise hit getting lots of word of mouth for not being as shitty as everyone expected.