Brian Lowry

Like his trademark bandanas, “Disciple” wears its soul, and its love for the music these artists created, brightly displayed where all the world can see it.

Whether it's on a large screen now or a small one later, Blinded by the Light represents such a sweet, easy-to-relate-to story that it deserves to be seen, at the least, by anyone who has shown a little faith that there's magic in the arts -- either in music, or a darkened theater.

Where's My Roy Cohn? is by no means a flattering portrait; rather, the film portrays Cohn as being emblematic of everything that's wrong with politics, class disparity and the current toxic political environment. Were he still around, though, it goes without saying that Cohn would characterize the project as a stunning victory.

Taking place almost entirely inside a hotel room, it’s a movie bathed in poignance and sweetness as well as sex and longing.

Writer-director Rian Johnson again assembles a solid cast behind Daniel Craig, but it’s his use of language – where nary a word is wasted – that finally gives the sequel its edge.

The new Bad News Bears has adopted a somewhat raunchier tone but delivers enough laughs to go the distance.

An entertaining, wonderfully simple comedy with the qualities of a smooth martini -- it goes down easy, but delivers a bit of kick.

There's always the risk of sounding preachy in this sort of exercise in a way that scares off those who can be reached, or perhaps worse, being unduly optimistic. Attenborough finds a middle ground.

Elemental doesn’t quite join the studio’s hallowed top tier, but it does yield moments of magic and beauty – reflecting both the immigrant experience as well as the power of love – worthy of that legacy.

Woodstock 99 makes a compelling case that the sewage from that weekend didn't stop flowing when the music stopped, metaphorically if not literally.

MLK/FBI not only offers a compelling portrait of what was, but beyond just looking back, sets up a debate about what will be. In the process, the documentary sheds light on a dark part of US history while leaving viewers to contemplate just how dark its more sordid corners should remain.

"Ruth" admirably contextualizes Ginsburg's lingering legal influence, and how her writing in dissent during her 27 years as a justice often influenced subsequent opinions from lower courts.

While this represents a considerably lighter story than his Oscar-winning “Argo,” in terms of its sheer appeal Air flies pretty high indeed, in part because its coach is savvy enough to let his winning lineup of all-stars take the ball and run with it.

Even in a boom time for musical profiles, this HBO presentation shines brighter than most.

All told, there's not a whole lot new here. Still, for anyone who hasn't waded through Bob Woodward's book "Rage," or deeply reported accounts by the New York Times and others laying out Trump administration shortcomings, Gibney and company have delivered what is clearly intended to be a powerful closing argument, pulling the case together. And to underscore the title's ironic nature, the evidence suggests it's a response characterized more by chaos than control.

The Father isn't a picnic to watch, but it is -- somewhat ironically, given Anthony's condition -- a movie, and performance, that's hard to forget.

Like its predecessors, Deadpool & Wolverine is loud, proudly vulgar and repeatedly shatters the fourth wall with gleeful naughtiness. Yet beneath the outlandishness, half-dozen belly laughs and nerd-centric beats resides sweet nostalgia for the last quarter-century of superhero movies, while demonstrating that Marvel Studios possesses the power to laugh at itself.

At the end of Sr., a documentary so personal the word “intimate” almost doesn’t do it justice, Robert Downey Jr. ponders what his 90-minute ode to his father was really all about. The simple answer, stripped of celebrity, is the painful process of saying goodbye to an aging, increasingly infirm parent, filtered through the careers of these two entertainers.

Ryan Gosling and a faceless rock creature forge an unlikely bromance in an adaptation of Andy Weir’s novel that manages to be alternately touching, stirring and silly.

The Go-Go's has pretty much everything you'd want in a rock documentary, presenting an oral history of the chart-topping all-female group with sex, drugs, music, money, and the intramural squabbling and wounded egos great success tends to unleash. Hard to believe it's been 40 years, but anyone who remembers the band should fall head over heels once again.

A near-irresistible and highly emotional adaptation of Shelby Van Pelt’s bestselling novel.

The American Civil Liberties Union battles the Trump administration on multiple fronts in "The Fight," an excellent documentary that captures the heady political moment for which the organization was born. Presented in a taut, tense way, it's a glimpse into what makes the ACLU tick with the pacing and stakes of a dramatic thriller.

Slick enterprise buoyed by a Motown-flavored '60s soundtrack and an appealing ensemble cast.

While the documentary doesn’t break much new ground, Kijak generally finds the right balance between the salacious elements and Hollywood nostalgia that remain inextricably intertwined in Hudson’s story.

The Brooks-Reiner banter is so understated and natural as to basically feel like eavesdropping on one of their lunches, which practically yields more memories than insights.

Put simply, if somebody had to make a "Simpsons" movie, this is pretty much what it should be -- clever, irreverent, satirical and outfitted with a larger-than-22-minutes plot, capable (just barely) of sustaining a narrative roughly four times the length of a standard episode.

The Killer has an old-fashioned feel and still manages to nail its target by bringing dashes of freshness, wit and unpredictability to this well-worn genre.

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