Brian Lowry

Shirley was clearly intended for the film-festival circuit, offering a narrowly pitched story where it's easy to admire the performances without feeling like the journey adds up to much. While Moss captures the complexity of Shirley's personality, the movie sheds scant light on the underlying why of it all.

The High Note is a breezy way to kill a few hours. Granted, it's more an opening act than a headliner, but that simply makes its digital, on-demand residency feel like the venue where the film rightfully belongs.

Watching Issa Rae and Kumail Nanjiani riff off each other is intermittently fun, but that's all there is to recommend The Lovebirds, a dark, somewhat chaotic romantic comedy.

Granted, Scoob! appears more into recycling than reinvention -- it's more a snack than a meal -- but it does endeavor to make an old concept fresh and cool again in children's eyes. That might answer the question why the movie exists, but based on the results, nothing here merits an exclamation point.

What Spaceship Earth makes clear is that before booking a ticket, the devil is in the details.

The inherent contradiction in Becoming, Netflix's documentary about Michelle Obama, is repeatedly articulated by the former First Lady herself: How can someone reclaim a semblance of a normal life when you are one of the world's most recognizable figures? The latest project under the Obamas' Netflix production deal doesn't fully answer that riddle, but it's an interesting contemplation of the question.