Glenn Kenny

While the lead actors are clearly committed, the movie gives them little to do besides exchange verbal invective.

A moving account of music as a way of coping with war, as well as keeping it at bay.

By putting the garrulous, sometimes cranky Hersh on film, “Cover-Up” reveals, in the behavioral sense, the obsessiveness that makes an investigative journalist.

Today, Duritz is a reflective figure. The documentary, directed by Amy Scott, will pull you back from any “pity the poor celebrity” eye-rolling with its revelation of his struggles with mental illness, which he endured, undiagnosed, during the ups and downs of early fame.

Filmmaker Waller is here trying to have things both ways: to pay a sincere tribute to the classic Japanese samurai movies in the widescreen frames and spurting blood it borrows, and also to make a genuine thing, a samurai qua samurai picture. He eventually gets there, or almost does.

The movie, written and directed by Hailey Benton Gates, wants to be a lot of things at once, including a satire and a dark rom-com. It bites off more than it can comfortably chew. However, the cast, also featuring Tim Heidecker, Chloë Sevigny and Channing Tatum, is charismatic and at times piercingly funny.

Sorrentino and cinematographer Daria D’Antonio color coordinate each and every frame to a fare-thee-well. Even scenes set in an Italian prison have real visual flair.

As concert films go, “You Got Gold” is pretty straightforward. It doesn’t need to be anything more than that. Prine’s songs are full of wisdom, drama, laughs and heartache.

The director Celia Aniskovich, using Owen Long’s 2022 New York Magazine article “Secrets of the Christmas Tree Trade” as a starting point, has at her subject with commendable verve.

What comes across most vividly in this movie, ultimately, is the fact that what happened almost half a century ago is a trauma that still weighs heavily on the people of Vietnam. And many Americans.

Curtis shows up late in the picture, and her grounded presence helps Powter’s hard-luck story resonate more sympathetically. The documentary ends not with the promise of a comeback, but with a resolution to restore some, well, sanity to Powter’s life.

Being Eddie is a great time. Murphy is good company, and he’s hilarious as ever.

The energetic and arguably strenuous performance by the lead actor, Riccardo Scamarcio, is something of a flex, to be sure.

Last Days manages to be thoroughly disquieting without overtly judging its subject.

The irrepressible tone of mordant giggliness this movie hits so often is entirely its own, keeping the movie buoyant throughout its over two-hour running time.

No matter its flaws, Truth & Treason is very well acted.

The movie chronicles eventual triumphs that are invariably tinged with sadness. Through it all, Osbourne’s devotion to his family, his fans, his bandmates and, yes, his art is palpable.

Anchoring it all is the ever-great Moss, who is also a co-producer on the picture. The actress is always heartbreakingly good playing character forced to endure a lot of humiliation, and in this scenario, she gets it coming and going. She illuminates the serious mess that this farce is about, underneath it all.

This moving film’s sense of hometown pride is subtle but apt.

Brian Kirk, the director, has a good feel for this formidable, intimidating setting; the viewer appreciates its beauty while maintaining a keen sense of how awful it would be to get stranded there.

Watching Coppola land on his head and then pick himself back up again and point himself at another brick wall is ultimately strangely inspiring.

The lens through which the movie views these kids is objective and balanced, but there’s an empathy at work that makes the viewer understand what each of the subjects is going through.

Like a lot of other stuff in this movie, it actually transcends the clichés of the genre while acknowledging those clichés as containing kernels of truth.

While the movie’s production design has considerable mojo — the trappings of a “Bachelor”-style reality show are sharply drawn, and the swimming hole on Trey’s ranch is practically Edenic — the anodyne writing reins in whatever satire one might have expected.

Bloom plays his role with a feral commitment, and while Turturro has portrayed several villains in his career, here his refusal to ingratiate even slightly yields a genuinely frightening characterization.

Bigelow’s ability to take a series of hypotheticals and render them into narrative actuality has never been more pinpoint accurate or merciless.

Guillermo Del Toro’s Frankenstein is a breathtaking coup, an exhilarating riposte to the conventional wisdom about dream projects. The writer-director makes something almost new, and definitely rich and strange, out of a story we all thought we knew well.

Aiding their investigations is an underappreciated policewoman appealingly played by Naomi Ackie. The proceedings are marshaled with affection by the director Chris Columbus.