Brian Lowry

Toy Story 4 delivers a cinematic grand slam, a nine-years-later sequel that's wholly equal to the high expectations raised by the terrific trio that it follows. Touching, raucously funny, adventurous and yes, even profound, Pixar's signature property once again touches them all.

Tilling some of the same conspiracy turf he explored in "All the President's Men," Pakula has improved on Grisham's book by excising much of the detritus, crafting a taut, intelligent thriller that succeeds on almost every level.

Granted, nothing can fully replicate the unique qualities of a live theatrical experience. But if anyone doubts that Hamilton can still deliver a Broadway wallop to the comfort of one's couch, well, just you wait.

The Bee Gees were adored, hated and as seen through Marshall's lens, somewhat forgotten. Yet after watching this documentary, even if you didn't have an especially deep love for the band in their heyday, you might find yourself humming those tunes all over again.

Belushi turns out to be a lot more than just another look at a star who succumbed to drug abuse, but rather a celebration of John Belushi's talent -- and an era -- as recalled by those who knew him best. R.J. Cutler's documentary has its melancholy moments, but from the opening glimpse of Belushi's "Saturday Night Live" audition video, it surely won't give you the blues.

Wherever one sees it, Turning Red delivers an exquisitely animated story that's moving as well as funny -- welcome evidence that creatively speaking, at least, Pixar hasn't lost its golden touch.

Even with the interlocking nature of the Marvel Cinematic Universe, Endgame feels like a triumph of narrative engineering -- weaving in enough callbacks to earlier movies to delight even the nerdiest patrons.

It's a gauzy indulgence in nostalgia that sweetly captures a very specific time and place, which should broadly speak to Linklater's contemporaries who somehow survived childhood before our society adopted most of the pesky rules designed to ensure that they do.

The result is a tense, documentary-style drama that methodically builds a sense of dread despite the preordained outcome.

Howard serves as a fitting celebration of that life and career. It's a chance for those who knew him to pause and fondly look back, in a way that merely adds to an appreciation of the parade that he helped start.

It's a nuanced, thought-provoking documentary.

Bruce Springsteen's Letter to You is a valentine to his fans, an ode to friendship and a celebration of the E Street Band. The latest documentary from the prolific artist also marks the continued migration of what he describes as his "45-year conversation" with his audience into the visual media of film and streaming -- this time via Apple TV+.

In bringing In & Of Itself to the screen, director Frank Oz (yes, the former Muppet master and filmmaker, who directed the theatrical version as well) has heightened the impact of DelGaudio's material by rapidly inter-cutting exchanges with audience members across a number of shows.

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.

The writing and twists elevated this to a spot among the master of suspense's best. [15 Aug 2019]

Deftly expanding the source material into a movie, the film is anchored by a sensational performance by Andrew Garfield as Larson.

The key is that Mendes (whose eclectic resume includes "American Beauty" and two Bond films, "Skyfall" and "Spectre") doesn't sacrifice the movie's heart in the service of its logistical considerations.

The film is alternately funny and heartwarming, but more than anything, eye opening, covering a chapter at best underreported in history books, if not outright overlooked.

Thompson really lets the music play in order to appreciate the artists, augmenting that by interviewing people who attended the festival, reacquainting them with a time of cultural awakening during their youth.

Like everything else she's done, Rita Moreno is an exceptional storyteller, turning Rita Moreno: Just a Girl Who Decided to Go For It -- an "American Masters" documentary hitting theaters first -- into a dazzling look at the much-adorned star's career, and the doors left shut, despite her success, by being a Latina in Hollywood during the days of the studio system.

One of the year's best documentaries, Boys State presents a fascinating look at teenagers brought together for an exercise in government, which somehow manages to unerringly encapsulate partisan divisions in the US right now. An opening medley of past participants -- including Bill Clinton, Dick Cheney, Cory Booker, Rush Limbaugh and Supreme Court Justice Sam Alito -- only stokes curiosity about where these youngsters will be 30 or 40 years from now.

STILL: A Michael J. Fox Movie is a remarkable accomplishment, making brilliant use of film clips to seamlessly illustrate and augment reenactments and the actor’s narration of his story, having spent more than 30 years living with Parkinson’s disease. Nostalgic without becoming overly sentimental, it’s an ode to Fox’s life, career and the struggle he continues to endure.

Yet even with those slightly different chords, Ross manages to pluck the right heartstrings, in the process delivering a grade-A tear-jerker.

Branagh has directed all kinds of movies over the past 30 years, from his frequent adaptations of Shakespeare to "Cinderella" and the aforementioned "Thor." It's perhaps appropriate, though, that his most personal film would also turn out to be his crowning achievement.

A fresh, disarmingly bright and at times explosively funny comedy well worth a trip to the mall, even if it eventually runs out of gas.

The Forever Prisoner asks the right questions regarding not just Zubaydah but the broader prosecution of the war against terrorism. As the film makes clear, it's the answers that have proven elusive.

Four Hours at the Capitol might be unlikely to change many hearts or minds, but watching the evidence months removed from the heat of the moment and the chaos that unfolded live on TV makes it difficult to entertain arguments that the media has overblown or misrepresented those images.

The movie lives up to both halves of its title: The Holdovers gets a hold on you, while looming over most stories built around the simple idea that families are often defined by what you make of them, not what you inherit.

What could feel cliched at various turns deftly avoids that, capturing Ruby’s plight in a way that recalls any number of coming-of-age stories while still feeling unexpectedly fresh and distinctive. There have been a number of first-rate movies about teenage girls in the last few years, but few that were better.

Lucy and Desi puts a big heart around Lucille Ball and Desi Arnaz, not only as the beloved stars of "I Love Lucy" and one of Hollywood's great power couples, but as TV pioneers. Drawing upon personal recordings and home videos, director Amy Poehler has served up a warm valentine that leans into celebrating their lives and away from the tabloid fodder.

Director Chris Columbus shrewdly brings together many of the same selling points as in his "Home Alone" movies, mixing broad comedic strokes with heavy-handed messages about the magical power of family.

No matter how many times you've watched those classic "I Love Lucy" episodes (or not at all), it's likely you'll come away from Being the Ricardos with a greater appreciation for the central couple's talents as well as their personal failings and foibles. In that, Sorkin has delivered a colorful portrait that goes beyond the nostalgia-tinted hues of black and white.

Credit Pixar veteran Pete Docter ("Up" and "Inside Out") and co-director Kemp Powers (the writer of the play and upcoming movie "One Night in Miami") with an addition to Pixar's library worthy of its classics.

Big and vibrant, In the Heights provides summer movie-going with a joyous jolt of adrenalin, wedding the sensibilities of Lin-Manuel Miranda's musical with "Crazy Rich Asians" director Jon M. Chu's mouth-watering imagery.

Part valentine to the theater, part unconventional love story, Spring Awakening: Those You’ve Known celebrates the show and its original cast, while also providing a broader look at the issues of teen rebellion and alienation that turned the musical into a sensation.

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.

Sidney, a documentary from director Reginald Hudlin produced by Oprah Winfrey, does the actor justice, providing context, depth and considerable warmth in chronicling his remarkable life and trailblazing career.

One Night in Miami delivers a concentrated taste of that, but like its newly crowned champ, somehow manages to gracefully float through its history, while still packing a potent dramatic punch.

Playing an aging star estranged from her daughter might not seem like a major stretch, but Deneuve and Japanese writer-director Hirokazu Kore-eda (whose "Shoplifters" took top honors at the Cannes Film Festival) spin that premise into a cinematic breath of fresh air.

Prone to long, leisurely exchanges, and frequently darkly funny, Scorsese's narrative has an almost Zelig-like quality in terms of the notorious figures that passed through Frank's orbit. Pacino, meanwhile, is the explosive counterpoint to De Niro's clenched character, the real raging bull here.

Say Hey, Willie Mays! is the kind of treat to help tide over baseball fans through the post-season, giving Mays his due while he’s still around to take a bow. It’s a gift for baseball fans who saw him play before he hung up that golden glove nearly 50 years ago, and maybe even more so, for those who didn’t.

The Power of the Dog is such a delicately constructed movie as to almost defy the ability to review it without saying too much. Keeping the audience off balance, writer-director Jane Campion creates a slow, ominous build around the fine performances toward a satisfying conclusion that nicely pays off on the slow-canter ride.

Whatever one’s age, there’s much to like in a movie that offers the requisite laughs and sweetness, while managing to feel quite profound.

Mank has the makings of an Oscar contender, and not just because of Hollywood's traditional love for movies about itself. With Gary Oldman as the alcoholic, self-destructive writer of "Citizen Kane," director David Fincher has made a near-great movie about what's in the argument as the greatest of all time.

"Are You There God?” addresses youthful preoccupations in a refreshingly relatable manner that feels almost heaven-sent.

A small, melancholy movie that explores cultural differences and dealing with death in an utterly charming, understated manner.

Val Kilmer joins the ranks of celebrities that fastidiously documented their lives via video, then shared that in documentary form. But Val feels more deeply personal and fascinating than most, catching its star in the wake of a terrible illness and exploring the "difficult" label he bore as an actor, one whose career choices didn't always serve him well.

Top Gun: Maverick soars higher than it has any right to, constructing a mostly terrific sequel 36 years later (including a Covid release delay), using a good movie, not a great one, as its jumping-off point. That might not be enough to take your breath away, but as brawny summer entertainment goes, it comes shockingly close.

DC finds itself at a bit of a crossroads. Yet that timing makes it all the more impressive to see how “The Flash” has managed to click on all cylinders, pay respect to the company’s past while achieving the kind of balance that could and perhaps should point the way to its future.

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

Spanning decades, the film version of the Broadway stage production improves in key respects on the Oscar-nominated original movie, with a spiritual message that should resonate through the holidays.

Reality might have benefited from widening the play’s tight, almost-claustrophobic focus a little bit more for this medium, but what’s there remains stark and compelling, with Sweeney’s discomfort speaking volumes even though the character says very little.

Chadwick Boseman's tragic death will draw understandable attention to Ma Rainey's Black Bottom, which represents his final role. Yet that focus shouldn't overshadow the riveting performances that elevate this small-scale Netflix movie, adapted from the August Wilson play with its somewhat claustrophobic stage origins very much intact.

Minari is a deeply personal film, and quality that's evident in writer-director Lee Isaac Chung's reminiscence about his childhood. Focusing on a Korean immigrant family, the universal themes come through loud, clear and ultimately with considerable power, even if the movie's languid pace works against it.

The amount of new information in "The Princess" will likely depend on one's personal Royals-related media consumption, but the packaging of this stark and intimate documentary -- marking the 25th anniversary of Princess Diana's death -- serves as a sobering reminder of how the press hounded her from the moment of her engagement until her tragic death.

Strange, surreal and unexpectedly sentimental, Everything Everywhere All at Once is genuinely and wildly original -- the kung fu/science fiction/metaphysical action comedy that you didn't know you needed, but just might love.

A coming-of-age tale that, without breaking new ground, ranks high among recent entries in its well-worn genre.

The new West Side Story doesn't entirely answer the most obvious question, which is why essentially remake a 60-year-old classic. Director Steven Spielberg nevertheless justifies the effort as a dazzling showcase for this generation's talent, in a film whose ties to lyricist Stephen Sondheim, who died last month, adds to its emotional resonance.

It's a fascinating exercise and superior to its predecessor, but clocking in at four hours, the operatic highs are somewhat offset by the lack of any pressure to say "cut."

The film thus operates on multiple levels, playing like an old-fashioned caper as well as a window into history. And like its inspiration, if there are hiccups here and there, when the smoke clears it's hard to consider this delicious "Operation" anything but a rousing success.

Briskly balancing a dizzying assortment of parts, Marvel's latest (by way of Sony) looks destined to do what only a spider can -- namely, lure vast numbers of fans into its web.

"Tina" is that rare documentary that leaves you craving an encore, as if two hours weren't quite enough to do Tina Turner's life and career justice. Weaving in a new interview with the 81-year-old icon, the footage then and now underlines the impression of Turner as a force of nature, rocking and rolling with and without Ike.

Add Mr. Harrigan’s Phone to the relatively short list of really good Stephen King adaptations, garnishing a coming-of-age story with understated hints of the supernatural and thoughtful rumination about cellphones that finds true horror in their ubiquity. Amid a month of Halloween-tinged offerings, it might be one of the few to share with the kids – at least, before the next time you punish them by taking their phone away.

Perhaps foremost, “Faye” allows its subject to be, or at least appear, as big, complicated and multifaceted as her life and career, in both the highs and lows, would suggest.

Simply in terms of presenting a draft of history through his earlier work and scalding commentary via his more recent endeavors, Souza's aim has been true.

Elegant, occasionally adorable and at times quite emotional, series creator Julian Fellowes still knows how to pluck the right strings – upstairs and downstairs – to play a symphony with his sprawling cast.

Directed by Brett Harvey, Inmate #1 has a few minor flaws, including an overly sappy musical score. Still, its subject is so inherently likable that a feature-length dose of Trejo's boundless energy feels like the kind of adrenaline shot we can use right about now.

A central takeaway is not only about the man but the warm nostalgia that he represents -- the memories, as Miranda and others recall, of grandmothers hushing them during the minutes he came on each day, running through the Zodiac with horoscopes filled with a persistent sense of hope.

Lewis -- who is battling pancreatic cancer -- was not much more than a kid when he marched alongside Martin Luther King Jr., and has seemingly lived three lives since then. That's why despite the documentary's uneven aspects, his legacy is ample motivation for any student of history to see Good Trouble as a good investment.

Alternately uplifting and devastating, a warm reminiscence about the Harry Potter franchise and a glimpse into child stardom, it’s finally a tribute to its namesake, who concludes that he’d “better tell my story, or it won’t be told.”

Featuring women involved in an underground network, the HBO presentation is a snapshot that echoes far beyond its specific moment.

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

Lionel Richie serves as the de facto tour guide for this trip down memory lane, which fulfills its promise to make a better day (or at least 90-some-odd minutes) for you and me.

In essence, British director Nigel Cole has brought a breezy arthouse sensibility to this tale of fated love.

Floridly beautiful, shamelessly derivative and infused with an irreverent, sophisticated comic flair thanks to Robin Williams' vocal calisthenics, Aladdin probably won't equal its beastly predecessor but should still enjoy a magic carpet ride through the holiday season.

If the first mission made roughly $50 million domestically, the sky could be the limit for this much better sequel -- a clever spoof of "Rambo" and a dozen other movies that employs the usual scattershot "Airplane!" approach but boasts a higher shooting percentage than its forebear. Look out, comedy fans: Fox is coming to get you.

Ultimately, American Fiction raises questions about the price of Black success in a White-dominated media and entertainment culture. What it doesn’t do, while maintaining its satirical edge and eye, is provide any easy answers.

Watching Cooper and Mulligan portray their characters across decades, it’s hard not to be impressed, while nurturing a greater appreciation for why Cooper found Bernstein’s contributions and complications deserving of such a tribute.

Slay the Dragon does an extraordinarily good job of taking a complex issue and connecting the dots, which seems particularly appropriate for a documentary about gerrymandering.

From the title to the execution, this National Geographic presentation has the right stuff.

Getting the delicate balance of the story mostly right, “Till” captures how Mamie Till Mobley turned the inconsolable grief over the murder of her son, Emmett, into resolve and activism. Anchored by Danielle Deadwyler’s towering performance, it’s a wrenching portrayal of reluctant heroism under the most horrific of parental circumstances.

The Farrelly brothers are growing up, which in this case isn't a bad thing. With a tacked-on ending made necessary by the Boston Red Sox's improbable World Series run last fall, Fever Pitch proves a charming romantic comedy against "A Beautiful Mind"-type framework.

Hoppers certainly has the vibrant feel of a plush-toy merchandising bonanza waiting to happen.

The "important" label can weigh heavily on a documentary, but the description applies to "Final Account," director Luke Holland's decade-long odyssey to capture and preserve the memories of Germans who lived through the Holocaust, acknowledging their complicity to varying degrees. While much has been done to chronicle survivors' stories, this sobering companion belongs on the shelf alongside them.

Sara Bareilles headlines this adaptation for which she wrote the lilting songs, in a show that manages to be alternately sweet and silly, touching and raunchy.

It’s a very different spotlight that falls on The Boss with “Springsteen: Deliver Me From Nowhere,” a deeply personal film about both his artistic integrity and inner demons.

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.

The One and Only Dick Gregory highlights Gregory's particular knack for getting people to laugh with him, and more significantly, the sacrifices he made in pursuit of greater objectives than the roar of a crowd and that nightly paycheck.

“Stan Lee” is obviously intended to be celebratory in nature, but by allowing Lee to tell the story largely in his own words, it conveys a genuine sense of what made him as big and colorful as any of the spandex-clad figures that he helped birth and spring off the page.

Every year seems to bring some new teen comedy that breaks through the clutter, showcasing new talent, and in this case, speaking to the times in a very specific way. 2021 is still young, but unless or until something better comes along, "Plan B" lays a pretty strong claim to that mantle.

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.

Making the most of its extensive access to Giancarlo Granda, the figure at the center of it all, Hulu’s “God Forbid: The Sex Scandal that Brought Down a Dynasty” pulls back the curtain on a salacious tale of sex, lies, hypocrisy, and political intrigue – for streaming purposes, a divine cocktail if there ever was one.

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 Little Mermaid is both slick and satisfying, meeting the primary challenge of allowing parents and kids to create memories around seeing it together. Setting aside its other assets, Bailey’s out-of-this-world contribution alone serves up the kind of splashy entertainment that justifies getting out of the summer sun, and in terms of being enjoyed far beyond that, might even have legs.

Fauci makes no pretense about where its sentiments lie, lauding a figure whose critics have seemingly twisted his image beyond recognition in their attempts to demonize him.

Those advocating for the movie as an Oscar contender might be overstating its merit, especially in a year with an abundance of options. But as a warm-hearted holiday release, Gerwig has created a "Little Women" for the 21st century, which, if history's any guide, will still be watched and compared to editions past and future not only through this century, but into the next.

Nomadland is a meticulously crafted little movie, anchored by a star at the top of her game. Yet it's possible to enjoy the film on that level and still come away feeling if the film makes much noise in the awards hunt, it's a sign that this was a relatively weak year.

It's also a terrific showcase for star Nicole Beharie.

Anyone with a taste for Cold War dramas will find an intriguing addition to their cinematic library with The Courier, a fact-based story featuring Benedict Cumberbatch as a Hitchcockian everyman who becomes the unlikely conduit to a Soviet leaker of secrets in 1960. It's the kind of historical tale that, after the closing crawl, will likely send more than a few viewers running to Google to read more.

At its core, though, is a solid caper movie rooted in the challenges associated with running any criminal enterprise -- a more modest version of "Goodfellas," with less blood, and more skin.

The requisite thrills are there, as well as the flourishes that audiences have come to expect from the “Mission: Impossible” franchise, from the ornate masks and disguises (a staple of the original show too) to the death-defying stunts (clearly a made-for-the-movies upgrade to the formula).

Overall Last Night in Soho's way-back machine delivers a thrilling trip, one that niftily brings a bit more Taylor-Joy to the world.

The Rise of Skywalker feels like a welcome course correction, featuring sequences and references that more cynical minds will dismiss as "fan service," but which derive emotion and power precisely from the bond and investment the audience has forged not just with this permutation on the story, but all of it going back to the original trilogy.

Economically told and cleverly calibrated to maximize its claustrophobic setting, it’s among the most effective films the director has delivered since his mid-career slump, making this a door well worth opening.

Young Woman and the Sea is an exercise in the simple power of a well-told story, the kind that can wash over and uplift you all at once.

A bit slow-moving at first, the history gives way to a thoughtful conversation about how best to remember this history and honor its victims, while simultaneously highlighting the modern science surrounding identifying the ship and, thanks to DNA, potentially linking its captives to their descendants.

What Bombshell briskly details is how and why Fox News -- and those who possessed the grit to stand up -- came under that unwelcome spotlight, one brick, and abuse, at a time.

What makes Marriage Story work, mostly, is the raw nature of the performances -- allowing the stars to flex different muscles than their respective blockbusters -- and the agonizing aspects of the two trying to shield their young son while losing contact with what made them love each other.

This is, admittedly, a strange time related to how and where people will wind up consuming this type of small-boned movie, but there's always room for another good one. "Let Him Go" might not be super, but it's definitely a trip worth taking.

What sets Bully. Coward. Victim. The Story of Roy Cohn apart is the personal connection for director Ivy Meeropol, the granddaughter of Julius and Ethel Rosenberg.

Chalk it up to modest expectations -- starting with early previews that rubbed people the wrong way -- but Aladdin is a great deal of fun, with charming leads and elaborately mounted songs. It's hardly a whole new world, but in this suddenly well-populated land of live-action reboots, makes the most out of its familiar one.

Director Gerard Johnstone builds up nicely toward those moments, smartly taking its time before the casualties and coincidences start piling up. The film is also a savvy rumination on the perils of letting technology serve as the ultimate babysitter, with Cady becoming a bit of a little monster herself when deprived of M3GAN’s company.

Supernova is by any measure a modest production, but it accomplishes what it sets out to do: Creating a touching, low-key showcase for its stars, one that allows them to cast a bright light.

Ammonite joins a long list of forbidden love stories, yielding a movie presented in washed-out tones, which shines principally thanks to Kate Winslet and Saoirse Ronan. The result is a slow-moving, somewhat predictable but finally effective period romance that primarily serves as an old-fashioned testament to star power.

Always meta in its nods to the genre's quirks, the latest "Scream" is so self-referential as to risk swallowing its own tail. Yet this quarter-century-later "requel" (a term specifically explained in the movie) turns out to be a great deal of fun, cleverly wedding familiar faces with new stars in what isn't exactly a remake or reboot but rather plays like a refresh.

The movie still works, if somewhat marginally, in portraying the culture that allowed such behavior to fester, the mix of fear and going along, coupled with a fleeting compliment and the burning desire to get ahead.

Not Okay isn’t the kind of movie that’s going to amass a vast audience (hence its debut via Hulu), but it is one of those of-the-moment ideas that makes you take inventory of where we are, and the manipulation that can play into who commands the spotlight.

Tapping into the twin markets of A) lovers of rom-coms and B) recovering English majors, “Rosaline” promotes a fleetingly mentioned “Romeo and Juliet” character front and center, then builds a very clever and breezy movie around her. The result is a welcome starring showcase for Kaitlyn Dever more likely to prosper in the hamlet of Hulu than it would have fared in the province of theaters.

Shang-Chi and the Legend of the Ten Rings conjures a slick addition to the Marvel Cinematic Universe, one that owes less to the comics than most of its predecessors. The movie not only strikes a welcome blow for inclusion with its predominantly Asian cast, but deftly juggles epic world building with lighter comedy in a way that should appeal to audiences, depending on how many can be lured back to theaters at this moment.

Mean Girls might recycle old tropes about high school’s caste system, but for those who just want a boisterous couple of hours in a theater, it aces that test.

Ultimately, “Dungeons & Dragons” delivers enough laughs and thrills to justify braving a trip to the theater. And for these purposes, that’s game, set and match.

Starring Taron Egerton, this Apple TV+ movie, like the game, is colorful and engaging enough that it’s hard to take your eyes off the screen.

"Cruella" confounds expectations in mostly delightful ways, particularly for what amounts to a supervillain origin-story prequel inspired by a 60-year-old animated movie. Credit much of that to a twin dose of Emma power -- as in Stone and Thompson -- in a movie that might owe its life to "101 Dalmatians," but which centers around a tasty cat fight.

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.

Encanto compensates for the dearth of traditional conflict with a colorful world filled with powers and an abundance of music.

Dumb Money might lose a little nuance and complexity in corralling all its facets into movie form, but boiled down to what will please an audience (in theaters, or more likely later at home), the smart money says most people won’t care.

Directed by Bartlett Sher and adapted by the play's author J.T. Rogers, "Oslo" serves as a haunting portrayal of what was, and a sobering reflection on conditions as they currently exist.

In her director’s note, Chinn explains that while considerable liberties were taken with the details of her experience, “The emotions are real.” However dark the premise might be, that part of Suncoast shines through as bright as day.

It’s a deeply personal chronicle from one of cinema’s greatest talents, yielding a movie that features wonderful moments within a somewhat scattered narrative.

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.

In Pattinson, the producers have found a Dark Knight worthy of the hoopla, while creating a Gotham much in need of him. As new chapters go, it's a strong beginning; if only it had known when to end.

Because profiling and modern criminology were greatly influenced by this period, there is an intellectually stimulating side to all this that No Man of God mines.

It's a well-made, provocative movie. And in a great big universe searching for intelligent content, one would hope there's still room for that.

Somehow, the film manages to feel like a throwback to the action movies of old while featuring people who were seldom allowed to occupy prominent roles back then. If the finish is a bit too busy to be as rousing as intended, by then, The Woman King has made the most of its formidable arsenal.

Let Them All Talk is as breezy as an ocean cruise (pre-Covid), and mostly a welcome excuse to enjoy its three septuagenarian leads -- Meryl Streep, Candice Bergen and Dianne Wiest -- as they banter their way across the Atlantic. Yet director Steven Soderbergh also offers some surprises, steering this polished little film in unexpected directions.

The Prom is indeed a demonstration of star power at work, but it's mostly a valentine to theater -- at a time when theaters are closed -- coupled with an overt message about LGBTQ acceptance and inclusion. All of that comes wrapped in a big neon bow, a joyous holiday gift for fans of musical theater, made by people who love the medium every bit as much as they do.

In hindsight, the most unlikely hit among Marvel’s parade of them was all about the unlikeliest of families. Guardians of the Galaxy Vol. 3 drives home that point, with a boisterous and often emotional sequel that feels very much like a true conclusion, fueled in no small part by writer-director James Gunn having migrated his talents over to rival DC.

Writer-director Christopher Nolan’s epic film essentially consists of three chapters, with the middle, Atlas-like, holding up the weaker, drawn-out beginning and end.

While the ranks of musicals brought to the screen probably does merit some family planning, “Matilda the Musical” offers a sprightly demonstration that there’s always room for another good one.

Even if the movie’s head is occasionally in the clouds, “Orion’s” heart is very much in the right place.

Hall captures how the two women chafe against the system and its limitations in different ways, and shoots the film with a haunting, almost hypnotic quality. That atmosphere, in a sense, is stronger than the story, but it's more than enough to make Passing a movie that shouldn't be passed by.

The game is afoot (again) in Enola Holmes 2, a wonderful showcase for Millie Bobby Brown that this time manages to work the character’s famous brother, Sherlock, more organically into the mix. Throw in fact-based underpinnings about horrid working conditions during the time and you have the makings for a very polished sequel – one that makes the whole thing look elementary, and a whole lot of fun.

The final act isn't quite equal to the build-up, but by then, The White Tiger has already pretty well sunk its teeth into you, making the investment in understanding Balram's fate feel like two hours well spent.

In the parlance of Olympic diving – a good analogy for blockbuster movie-making – Black Panther: Wakanda Forever faced an inordinate degree of difficulty, addressing the tragic death of Chadwick Boseman. That the movie manages to strike that somber chord and still deliver as Marvel-style entertainment represents a major accomplishment, though the tension created by those two forces grinding in different directions can’t entirely be ignored.

What's lacking, mostly, is a tighter focus on what is, admittedly, a complicated story to do justice. The issues the film depicts nevertheless resonate on multiple levels, from the current state of race relations to the way the government dealt with this perceived domestic threat, without packing quite the wallop that the material suggests.

How to Survive a Pandemic is a poor title for a mostly fascinating documentary, whose flaws reflect its slightly fragmented nature. Yet at its core this HBO presentation captures the race to produce a vaccine amid political pressures imposed by a president preoccupied with his reelection, offering fly-on-the-wall access to many of the key players.

This latest addition surpasses expectations, honoring the source while building a muscular and even thoughtful adventure around a very ape-centric concept.

Because the first movie generated such a bracing gust of enthusiasm, Frozen 2 will inevitably be nitpicked and judged against those lofty standards. Still, there's plenty to enjoy for those willing to chill out, and yes, let the past go.

A particularly rich Disney+ documentary that captures the man as well as the ideas that will ensure him a kind of immortality.

Free Guy is a cleverly programmed wedding of star (Ryan Reynolds) and subject matter, in a movie that's silly, handsome-looking and a great deal of fun, in roughly inverse proportion to how much one sweats the details. Traveling inside videogames doesn't always end well cinematically, but this "Guy" braves that familiar scenario and comes out ahead.

Feeling the years and the miles, Harrison Ford cracks the whip for the last time, in a film that offers the requisite thrills and proves fairly emotional before it’s over.

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.

Those involved are smart enough to recognize what people really want is the warm tidings of a stylish reunion, and in terms of navigating that narrow runway, the movie mostly delivers.

West mixes some wit in with the gore here, even if the payoff, alas, doesn’t rise to the level of the buildup. By then, though, “MaXXXine” has delivered enough nostalgia regarding its genre to merit a walk down its alleys, and not incidentally, the showcase and sendoff that Goth’s character deserves.

Without breaking the two down shot for shot, Coppola's editing feels as if it accentuates ties to the earlier films. Yet there's only so much that can be done by rearranging pieces, and it's not the sort of significant makeover associated with celebrated "director's cuts," a la "Blade Runner" or "Brazil."

Mostly, the documentary premiering on Amazon serves as a social-studies lesson in how campaigns operate, with the most candid moments coming from those other than the candidate.

“Barbie” comes roaring out of the gate with an inventiveness and energy the movie perhaps inevitably can’t sustain. Amid all the hype that has made its release an increasingly rare movie-going occasion, director Greta Gerwig’s film proves an admirably ambitious attempt to ponder where Barbie fits in the 21st century – less than it could be, but pretty close to being what it should be.

For those well-versed in the writer-director's work, it's a credible and intriguing addition to his filmography. Yet at 2 hours and 41 minutes, it also feels too leisurely in connecting its threads, especially compared to the crispness of something like the World War II epic "Inglourious Basterds."

In tennis, “love” means nothing. Love also has little to do with “Challengers,” which uses the sport as the backdrop to serve up an elaborate, non-linear psychological triangle that proves twisty and enticing for much of the match, before double faulting by whiffing on the ending.

Blackpink: Light Up the Sky manages to offer a welcome reminder that even for K-pop's reigning queens, all that glitters isn't always gold.

The primary avatars -- Dwayne Johnson, Kevin Hart, Karen Gillan and Jack Black -- seem to be having an awfully good time with all this silliness, which is mildly infectious, even when the movie sags.

Dumbo achieves a minor miracle, taking a challenging animated classic and completely refashioning it into an effective, often-charming live-action movie.

Slick and briskly paced, the film incorporates its origins while conjuring enough laughs and fun to effectively deliver for parents and their cubs.

The movie does contain an empowering message thanks to its gender distinction, which is thrown into sharper focus by the period. Yet while it's a welcome landmark, Marvel and Disney's ambitious plans will almost surely reduce that status to a historical footnote.

Isn't It Romantic has charm to burn, in a light-hearted send-up of romantic comedies that playfully turns all the familiar tropes into a lively vehicle for Rebel Wilson. The movie owes a thematic debt to "Groundhog Day," but mostly -- in a film so conscious of conventions that it niftily bleeps its foul language -- it's a heckuva lot of fun.

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.

Weird: The Al Yankovic Story certainly earns its title, operating, appropriately, not as an actual movie biography but an outlandish parody of one, filled with comedy cameos and bizarre flights of fancy.

There's obviously a bit of calculation in introducing more depth to Poirot, making him more interesting for Branagh to play. Yet the filmmakers manage to incorporate that without detracting from the central mystery, and the pace chugs along briskly enough, with plenty of stunning scenery when outside those stuffy cruise rooms.

Lethal Weapon 3 is all about chases and comedy schtick, and in this case the sum of the parts really adds up to more than the whole.

A warm if somewhat flat trip back in time that approximates the feel of the show's Christmas specials, only over-sized, and as cozy as a seat by the manor's fire.

Sorry/Not Sorry takes issue with both the supposition that nobody was really victimized by Louis C.K.’s actions and the mentality of first looking the other way amid what the comic initially dismissed as “rumors,” then welcoming him back.

World Trade Center yields lovely and touching moments but proves a slow-going, arduous movie experience.

The Neil Simon script evolves a series of increasingly intimate and sensitive character encounters as the adults progress from mutual hostility to an enduring love. Performances by Dreyfuss, Mason and Cummings are all great, and the many supporting bits are filled admirably.

Mulan is big, sumptuous entertainment. It's good, but not great, transforming the story associated with the 1998 animated musical into a song-free, live-action movie that's more adequate than transcendent -- a perfectly reasonable family-viewing investment that's worth seeing, but not necessarily a must-buy.

At times the film feels like “Black Mirror” on peyote.

Wolfgang nicely demonstrates how its namesake fundamentally impacted the world of cooking – and especially how high-end food is perceived – while carving out a pretty sweet life for himself in the process. For that alone it’s worth watching, even if, as documentaries go, it’s less a main course than an appetizer.

So "The Family Stone" becomes "The Family Rodriguez," and to their credit, the able performers wring as much mileage as they can from such familiar material.

“Uncut Gems” gets a spiritual sequel.

Power makes an intellectual argument, but it’s built on a visceral foundation, purposefully bleeding from past generations into the current one.

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

Directed by actor and documentarian Fisher Stevens, "Palmer" certainly doesn't break any ground, but its simple story is sensitively told.

Part French sex comedy, part “American Pie”-like coming-of-age story, this raunchy vehicle for Jennifer Lawrence also possesses darker and deeper streaks that elevate it above its “Pretty. Awkward.” posters.

Slow to start, the movie taps into a genre of “What’s behind the curtain?” paranoia that’s provocative, if a little slim on detail.

There's some gorgeous imagery along the way, and a strong payoff after what amounts to the episodic nature of Raya's journey. But the film feels too conspicuously like a work by committee than one of inspiration (the film credits four directors or co-directors, and 10 names as having contributed to the story), missing the spark that has characterized the studio's best animated fare, including Pixar's recent "Soul."

Wish doesn’t quite reach the stars, but it does shine intermittently while introducing another plucky teenage female heroine, gamely voiced by Ariana DeBose.

Offering a weird mix of over-the-top violence and dark humor, Gunpowder Milkshake weds the spaghetti western with the colorful visuals of anime, enhancing that with an inordinately good cast for such a silly movie. The net result provides considerable fun.

The film has an old-fashioned “B movie” vibe, which, for a project headed straight to Netflix, is almost exactly as it should be. As for the feminist message wrapped into the premise, it’s merely further evidence that Brown, at the ripe old age of 20, looks like a boss both on screen and off.

Thanks to its simple construction, Wolfgang Petersen's large-scale liner moves reasonably well, though anyone with the faintest memory of its 1972 predecessor will wonder where most of the plot went.

Best enjoyed (a la the "Mission: Impossible" franchise) by simply admiring the explosions and silliness without dwelling too much on the skeletal plot.

Unlike most TV-to-movie transitions, Mann returns to his roots and delivers what amounts to a slightly overblown episode, brimming with style and characteristically short on substance.

While director Guy Ritchie's excesses and modern concessions -- among them a lot of explosions -- remain intact, the parts of this second "Sherlock Holmes" are considerably more rewarding.

Jungle Cruise delivers about as ably as it possibly could, creating a light-hearted adventure that owes as much to “The Mummy” as anything in Disney’s fleet.

A polished and satisfying film, yet one that conspicuously feels even more like a consumer product than most Disney revivals of its animated classics.

"Dark Fate" earns its favorable judgment by cleverly and effectively adding to that legacy. The only drawback is that accomplishment merely makes it more likely that in one form or another, sooner or later, yep, they'll be back.

The images of the US turned into a war-torn country provides a sobering dystopian backdrop for an action movie that works on that level, without lingering in the mind as long as it could or should have.

Features strong performances and a solid story, drawn from the familiar well of faceless corporations grinding ordinary people through their profit-making machinery. Yet Gilroy's fidelity to his script comes at the expense of the pacing.

No Sudden Move fares better with the quirky, unpredictable nature of the characters, the impeccable period touches -- from the overall look to the music -- and disarmingly witty bits of dialogue.

Trevor: The Musical can't help but feel partly encumbered by the "important" label, bringing lessons about self-acceptance to Disney+, whose parent company has been a ripe target for controversy. Yet this filmed version of the off-Broadway show works as a triumph for the young cast and especially the relatable lead, powering past its lesser aspects with infectious energy and a touching message.

There's nary a note of surprise to be found, but the heroism and man-dog bond carry the movie along.

It's an intense experience, one whose focus is undeniably stirring but which leaves certain aspects of Blair's life and resume somewhat underdeveloped.

Moss, whose gift for speaking volumes with purposeful stares is well-documented on "The Handmaid's Tale," perfectly captures the sense of invasion Cecelia feels, and at first, helplessness. Her growing strength, in the face of such an overwhelming threat, is the movie's most empowering element.

Granted, the overall exercise feels more efficient than inspired, but there’s something to be said for that sort of workmanlike ethic in an old-fashioned “B” movie fashion. Those attributes don’t necessarily merit rushing out to buy a ticket, but wherever and whenever one ends up boarding this flight, taken on its terms, it’s not a bad trip.

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.

It is, frankly, a lot to absorb — and would risk crumbling under the weight of Lee’s ambition were it not for the second gut punch to the region that BP’s horrifying blunder delivered.

Deftly cutting between the past and the present, director Taylor Hackford manages to establish a compelling mood and pace even though the pic lacks a thriller's true "Aha!" moment

Pixar's enviable track record with original animation is a mixed blessing, creating sky-high expectations for each new movie. Onward, an undeniably emotional and imaginative concept, joins that rich tradition, without reaching the upper rungs of the ladder set by its predecessors.

Crisp and efficient, with the occasional clunky moments, Parker also shows off Jennifer Lopez (literally) to good effect, while mostly squandering the rest of its first-rate cast.

The Equalizer 3 might not be totally convincing as a “final” anything; still, the latest outing does have the benefit of feeling like it reaches a nice point at which to close the books for now on Robert McCall, all things, you know, being equal.

"Where'd You Go, Bernadette" offers a solid showcase for Cate Blanchett, in a movie that's notably slight, but finally sweet and touching.

The Many Saints of Newark turns out to be a credible and rewarding film. But with a bit more seasoning and time in the oven, like its HBO predecessor, it actually might have risen into a truly sensational TV show.

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.

Bigger, louder and considerably less charming than its predecessor…Still, there are enough crowd-pleasing moments amid the frenetic action.

Barring a few lapses, the gags fly by in rapid-fire fashion, and enough of them connect -- thanks in part to the amusing mix of Hill's hang-dog demeanor with Brand's lanky, relentless hedonism.

Provides a stellar showcase for its actors, especially Jim Parsons as the central provocateur.

The Proposal won't catch any bouquets for originality, but in terms of a bended-knee pitch for the affections of women -- including Ryan Reynolds’ boyish charms, a hip granny and even a beyond-adorable puppy -- this romantic comedy pretty much pulls out all the stops.

The Trial of the Chicago 7 feels timely in an at-times jolting way, with images of chaos in the streets and angry crowds chanting "The whole world is watching." At its core, though, writer-director Aaron Sorkin takes the "trial" part to heart, leading to a largely courtroom-bound affair that -- while entertaining and splendidly cast -- at its best echoes his early triumph with "A Few Good Men."

"Wicked” should be considered as one sweeping, five-hour canvas. And if the slightly shorter second half doesn’t fully measure up to the original, that does little to detract from director Jon M. Chu’s overall accomplishment.

A sweet if slight love story.

Sure, it’s another throwback intended to wring value out of nostalgia, but one executed with a level of relentless silliness that, like its “stars,” won’t ever be accused of over-thinking things.

Offers some of the same breezy charm as its environs.

Hit Man is as much a quirky romance as a thriller, juggling its mix of whimsy and suspense deftly enough, especially down the closing stretch.

Nobody should expect too much of a movie in this genre released on Valentine’s Day, and grading on that curve, Players happily punches above its weight class and exceeds expectations.

The main drawback to A Beautiful Day in the Neighborhood -- directed by Marielle Heller ("Can You Ever Forgive Me?"), from a script by Micah Fitzerman-Blue and Noah Harpster -- is that it tends to leave you craving more about Fred Rogers, and less about Lloyd.

The idea of a nasty Christmas movie is nothing new, but Violent Night still manages to deliver the goods, mixing “Die Hard” and “Rambo”-style action with a fair amount of hokey ho-ho-hokum. David Harbour makes a particularly good cranky, butt-kicking Santa, in a movie that offers the sort of shared experience that should bring theaters some much-needed cheer.

With Hugh Jackman and Allison Janney as a can't-miss combination, Bad Education joins a juicy true story somewhere in the middle, drags before getting into the meat of it, and then rallies solidly in the second half. While smaller in tone and topic than most HBO movies, it's a solid exploration of greed and corruption, where the ultimate hero is, of all things, a teenage journalist.

While the movie doesn't wholly succeed, there's enough to like here -- including Channing Tatum's credible performance as a tradition-bound Roman soldier.

“The Great Lillian Hall” operates as a love letter to the theater while catering to those who can appreciate an “All About Eve” reference or two.

There's a nice chemistry between Mac and Samuel L. Jackson in this latest variant of the road movie, which contains comedic elements but actually works better as a drama.

The third installment in Rian Johnson’s still-entertaining spin on Agatha Christie for our times exhibits signs of yielding diminishing returns.

A familiar but very nicely done coming-of-age story.

“Doctor Strange in the Multiverse of Madness” might be the most insanely Marvel movie ever, for good and ill. Unleashing the infinite possibilities of the multiverse throws open the studio’s toybox, but the anything-goes aspects of that can be alternately thrilling, disorienting and occasionally, a little silly. All told, this sequel proves highly entertaining, if not quite worthy of the pent-up demand for it.

Thriller 40 consciously and effectively brings the focus back to the music and the thrills he delivered as a performer. As for the ability to keep the rest of his story at bay while watching it, that will likely depend on one’s level of Jackson fandom.

A dual attempt to breathe life into the vampire and haunted-house genres, “Abigail” could have been called “Don’t Tell Mom the Kid I’m Babysitting’s Dead.” The simple premise, however, turns into an effective little horror movie, a bit strained toward the end, but until then a clever and inventive take on six people literally just trying to make it through the night.

At a time when journalism is often under siege, there’s value in displaying its noblest qualities and loftiest aspirations. Even with hiccups and quibbles, She Said achieves that central mission.

Periodic bursts of cleverness brighten the festivities, but they're too few and far between, and the trademark humor that appeals to adults and kids often misfires.

Given the enduring fascination with such material, underscored by all the recent productions about Jeffrey Dahmer and Ted Bundy, this is one of those stories that seems ripe for a redo. Because even with the uncertainty the one thing “Boston Strangler” makes clear – 55 years after the previous movie – is that when it comes to true crime, some things never go out of style.

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.