Brian Lowry

Unlike most biographical documentaries, “Stephen Curry: Underrated” benefits from having two very distinct windows in mind, both buttressing its underlying point: Curry as a barely recruited, under-sized high school prospect, before merging as a college star at Davidson; and his most recent title with the Golden State Warriors. Either would be good enough, but put together, “Underrated” shoots and scores.

Opening up about her bipolar disorder is surely a service, but the six-year span encompassed by this intimate Apple TV+ presentation labors to flesh out its revelations into a documentary.

For an actor known for having led his crew as it boldly explored humankind’s final frontier, “You Can Call Me Bill,” somewhat disappointingly, takes its extensive access to Shatner and doesn’t go much of anywhere.

Funny, sentimental, and anchored as always by Tony Shalhoub’s “defective detective,” it’s a worthy follow-up that goes beyond just being a nostalgic exercise.

His catchphrase notwithstanding, "Borat" isn't always very nice; indeed, the material is pointed, and occasionally guilty of working a little too hard to shock. In its best moments, though, the twisted mirror that Cohen holds up to America from a Borat's-eye-view is telling, and like the previous "moviefilm," very, very funny.

The producers, obviously, are good storytellers, and there is something to be said — touched on here — about their shifting roles as TV has embraced an auteur quality. Still, the resulting doc finally feels like less than the sum of its anecdotes.

While the movie falls apart toward the end, the mystery -- and crackling central performances -- cruises along at a low boil much of the way.

Oyelowo's film delivers its simple message to appreciate the people you love ably enough, without leaving the intended ripples in its wake.

The film makes a sobering point about the danger of rushing to judgment and trial by media, but undermines that with its ham-handed approach to key parts of the story.

Edgy, unsettlingly paranoid and genuinely clever, it’s a logical continuation of the conversation writer-director Sam Esmail started with “Mr. Robot.”

Permutations on Sherlock Holmes have a long and spotty cinematic history, which makes Enola Holmes -- a vehicle for "Stranger Things'" Millie Bobby Brown, who doubled as its producer -- such a pleasant surprise. Adapted from the young-adult books, it's a lovely production that reinforces the sense Brown, if there were any doubts, is a major star in the making.

The latest film begins from a slightly unexpected premise, but then efficiently spins it to yield additional horror while giving theater-goers every reason to keep their mouths shut.

An extremely down-to-earth, character-driven heist movie that in the best ways resembles similar fare from the 1990s.

To its credit, this two hour, 43-minute movie (thus making the title a bit of a lie) assiduously builds on everything that the recent Bond movies have established, in a way earlier incarnations generally didn't. That has deepened the character, allowing Bond to experience grief, loss and love without hitting the reset button, the recurrence of the villainous Blofeld notwithstanding.

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.

While it’s fun seeing “The Breakfast Club” as they near “The Early-Bird Dinner Club” years, this is one of those projects that would have benefited from a more journalistic tone.

What really defines the film is meeting the title character's other "family," whose members are equal parts colorfully eccentric and lethal.

Despite a glittering pedigree, the result is an earnest film deficient in the inspirational qualities of its subject matter.

James Cameron has done it again with Avatar: The Way of Water, a state-of-the-art exercise that rekindles that sense of wonder and demands to be seen by anyone with lingering interest in watching movies in theaters.

The destination, frankly, is probably less compelling than the journey. But Frye's wide web of contacts offers a compelling window into not only her past, but the very specific cultural moment when it all unfolded.

Like other self-referential horror/comedies (the “Scream” franchise come to mind), the film ably delivers on its premise, mining enough life from its satirical concept to deliver plenty of crowd-pleasing moments.

The Idea of You will likely be most satisfying for those who choose not to sweat the details, enjoying the scenery and fantasy wrapped up in it. Think of it as one of those movies that really reinforces the adage there are no new ideas, just fresh versions of old ones set to different beats.

A "Rashomon"-like tale that tells its story from different perspectives, this fact-based adaptation of Eric Jager's book is muddy, bloody and grim but too drawn out in filtering 14th-century feudal norms through a modern prism.

The resulting movie, however, hits the wrong notes, repeating mundane lyrics without uttering the words that keep coming to mind, which are "precious" and "pretentious."

Neither the disaster one might have suspected nor a fully realized madcap farce; rather, Steve Martin's foray as Inspector Clouseau exhibits bursts of wild-and-craziness, but hardly enough to sustain even its relatively brief running time.

Ant-Man is a somewhat ironic choice for a very, very big job: Kicking off the next phase of Marvel movies. Ant-Man and the Wasp: Quantumania works on one key level, establishing Kang the Conqueror as a truly formidable and worthy villain. Yet with its plunge into inner space, “Ant-Man” comes up short in almost every other way that matters.

Tesla even more aggressively incorporates documentary-style techniques and weird anachronisms into the drama. His story is essentially narrated by Morgan's daughter, Anne (Eve Hewson), in a way that gives the movie a decidedly off-kilter spin. At one point, Hawke even sings a few bars of the 1980s song "Everybody Wants to Rule the World," recorded decades after Tesla's death.