Carla Meyer

Although it holds some of the same contrivances as the original, Hulu’s new remake also maintains tension and features a masterful performance, this time by Mary Elizabeth Winstead as the mother.

Is it possible to enjoy a movie musical while actively disliking its songs? It is with “Kiss of the Spider Woman,” which proves the durability of a good story — and story within a story — no matter how many generic John Kander and Fred Ebb songs, weakly performed by Jennifer Lopez, come with it.

It’s still a relief that the love story here is between a kind woman and a creature far nobler than his onetime owner.

Hard Truths lacks subplots, or, come to think of it, a plot. Good thing, then, that it features one of the best lead performances of the movie awards season. Pansy might remain a bit of a mystery, but Jean-Baptiste is clearly a revelation.

Fueled by exquisite performances from Tony winner Erivo (“The Color Purple”), as Elphaba, or the Wicked Witch of the West, and Grammy winner Grande as Glinda the Good Witch, “Wicked” is the best movie musical in years, representing a rare instance when performances, visuals and songs are of equally high quality.

Woman of the Hour, Anna Kendrick’s tense, insightful directing debut, re-centers the narrative on Alcala’s victims and the rampant misogyny that suffused the 1970s.

Smile 2, filmmaker Parker Finn’s audacious follow-up to his 2022 breakout hit, “Smile,” delivers all the jump scares, gore and supernaturally plastered-on grins a horror fan can take while also commenting, thoughtfully yet also disgustingly, on the perils of fame.

Thelma always emphasizes seniors’ capabilities, not their limits.

The new film by documentary editor (“RBG”) turned director Carla Gutierrez distinguishes itself by using the artist’s own words — largely taken from Kahlo’s illustrated diary — to tell her story.

Despite some missteps, this version of “Mean Girls,” especially in its reframing of Janis, promotes feminism and inclusion almost as fervently as “Barbie” — although its characters still only wear pink on Wednesdays.

The time spent establishing Jane’s and Corinne’s bond pays off by always keeping their scenes on the heartfelt side of maudlin.

Beautifully acted and suffused with warmth and humor, Are You There God? It’s Me Margaret is a film worthy of the long wait in bringing Judy Blume’s classic 1970 children’s book to the screen.

Blume’s insistence on first-person realness, on the page and in life, centers this thoroughly delightful documentary from directors Davina Pardo and Leah Wolchok, who met at Stanford University. But don’t expect the same degree of exploration Blume brought to her own protagonists.

The movie eventually settles into a more relaxed, warmer tone, as veteran TV writer Chad Hodge’s self-aware script acknowledges all the tropes — gay and holiday — while continuing to employ them effectively.

As good as both actors are, watching characters sitting around talking gets old. But the film perks up considerably midway through, becoming a taut beat-the-clock thriller as it covers the days just before Bundy’s 1989 execution, the tension lying in whether Ted will fulfill his 11th-hour promise to confess.

Bachelder’s fly-on-the-wall approach reveals great details, and she picked compelling subjects.

Ms. Purple is the kind of low-budget film, with inexpensive-looking slo-mo effects and an overwhelming score (the filmmakers anticipate any and all requests that the violins be cued) one usually sees only in local film festivals.

Early scenes are unnecessarily horrific, and the final scenes falter from a disconcerting shift in tone. But this still leaves a significant stretch of beautiful acting, thoroughly engaging action and vital history lessons about the brutality on which some supposedly civil societies were built.

Buckley’s naturalism, combined with her abundant charisma and wonderfully warm-toned, slightly gritty singing voice, make her irresistible here.

Judging by her funny, warm, drawn-from-life feature directing debut Wine Country, Amy Poehler is a gracious friend. She and screenwriters Emily Spivey and Liz Cackowski ensure that the many former “Saturday Night Live” performers and writers assembled for this Napa Valley-set Netflix comedy get moments to shine.

Hail Satan? is too lacking in conflict (apart from the eternal one) to be a true study of a movement. But it’s a highly entertaining survey.

Musician Charlie Sexton brings charisma and a haunted quality to Townes Van Zandt, the legendary Texas musician who was a Foley pal, drinking buddy and fellow teller of tall tales.

After dipping its toe into thriller cliche, Simple Favor dives in, with crosses, double crosses and “twists” one can anticipate a mile away. Yet, there’s always just enough of a wink apparent that the film remains highly involving throughout.

Unlike the sometimes cornpone depictions of backwoods life in “Winter’s Bone,” the folksier moments here seem organic.

In 2009, Kholoud Al-Faqih became the first female judge in the Palestinian Shariah (or religious) court system. As Erika Cohn’s fascinating documentary The Judge shows, al-Faqih has fought for justice for Palestinian women ever since.

Foxtrot troubles and fascinates as it shifts from a portrait of grief to one of pathology, and captivates after it shifts again, into a visually driven, borderline absurd look at military life.

Hawkins, Bonneville and voice actor Ben Whishaw — who makes Paddington sound like the Geico gecko minus the attitude — give the film a strong base of kindness.

The film’s best moments show the characters bonding as teens, “Breakfast Club”-style, within their new bodies.