We have, for a decade or so, been moaning about the financial underperformance of films aimed at grown-ups. This year the conversation has become more heated. “Why Aren’t Awards Season Movies Resonating With Audiences?” Variety asked last week. Its key example was the soft US opening of Maria Schrader’s fine journalism drama, She Said. The trade paper fretted over similarly indifferent figures for James Gray’s thoughtful memory piece, Armageddon Time, and Ruben Östlund’s nautical satire, Triangle of Sadness. The cinema community wails in the town square while beating its collective forehead raw and bloody. What is going on? Let us...