Jocelyn Noveck

The story here is simple and heartfelt. It’s a coming-out tale, but with the twist that the person coming out is 32, a decade (or even two) later than in most stories we see.

Disney’s pleasantly entertaining, gorgeously rendered but slightly heavy-handed meditation on climate change and father-son dynamics.

This final movie will give loyal Downton fans what they want: a satisfying bit of closure and the sense that the future, though a bit scary, may look kindly on Downton Abbey as long as Mary is in charge.

The issues it addresses are, to say the least, crucial ones, and even though it trusts its audience to trudge through some dense material, the audience should repay that trust. Here’s hoping it will.

The script could certainly be sharper, the comedy more clever. But for two hours on Netflix, Coopers Chase is rather a comfy place to be, with some moments to cherish.

The first and most important thing to say about “Anemone,” a bleak, somber, absorbing but also sometimes frustratingly opaque collaboration with his director son Ronan, is that it’s brought Day-Lewis back.

Jittery, tense, fast-talking and always on edge, this is a Hamlet, above all, in a rush.

It just doesn’t have the exciting, lightning-in-a-bottle feel that the wonderful original had. Perhaps that was too much to ask.

Yes, you’ll likely guffaw at one key moment, but it probably won’t spoil the fun. And when you catch yourself saying, “That wouldn’t happen!“— well, let’s remind ourselves that this is precisely the time for a little escapism.

In the end, “A New Era” is a misnomer of a title — not much has changed, which actually may be the best gift to “Downton” fans. After a tough couple of years, you could do worse than this, the latest in what may end up being a line of sequels as long as the Crawley bloodline.

The rebelliousness of each of the strong women here — mother and daughter — somehow coalesces into understanding. Such moments can be sappy, but here, as with her lovely opening shot, Keshavarz does it well. She sticks the landing.

Certainly the film has a fascinating premise, one that would have worked well enough were it totally fictional — but works better with the knowledge that it’s based on fact.

The mashup of genres may feel a bit tonally rough, but it ultimately works, not least because of its unifying factor: Sweeney, who imbues her no-holds-barred portrayal of Martin with both sweetness and rage, with brio and real vulnerability.

Luckily, The Mauritanian, directed by Kevin Macdonald, gets one thing very right: Tahar Rahim’s masterful central performance. The French actor achieves something his big-name costars — Jodie Foster, Benedict Cumberbatch and Shailene Woodley — do not, presenting a multi-layered, subtly shaded and deeply moving portrayal that proves hard to forget.

Stone is always compelling, and with an ace nemesis in Thompson, she’s having a blast.

Some people hate horror films of any kind. They’re not the intended audience here. But for those who don’t, or are mixed, it’s true: You may watch “Final Destination Bloodlines” through fingers covering your face. But chances are high you’ll be smiling, too.

Lawrence’s novel may have been shocking when it was published — most famously, it was the subject of a major obscenity trial in Britain — but it is not shocking now, no matter how frank the sex scenes. So any adaptation needs more to distinguish it than heaving bodies, however attractive.

Does all this work? Well, it depends on how you feel about ... Cats. Did you love the show? You’ll find stuff to love here. Did you hate it? Ditto! Or maybe ... you’ll have both reactions? That’s possible too.

Vice is frenetic and fun, flippant and frustrating.

While much of Bissell’s film is poignantly rendered, especially the spirited lead performances by Taraji P. Henson and Sam Rockwell, it has its flaws and its omissions.

The biggest challenge for Styles, and for the studio that lists him as one of a six-actor ensemble — albeit at the top of the list, they’re not stupid! — is to mute the confident pop-star magnetism, in service of the story. This he does. At times, though, it seems he’s pressing too hard on that mute button, erasing personality from his portrayal.

A slick, fizzy bit of entertainment that’s occasionally delightful and usually fun, even if the translation to 2024 definitely has its rough spots.

Bring your hand warmers, toe warmers, heart warmers and soul warmers — this update of the 1922 silent vampire classic will chill you to the bone...But it may not terrify you. Everything in Robert Eggers’ faithful, even adoring remake, from his picturesque 19th century German town to those bleak mountain snowscapes leading to that (brrr) imposing castle in Transylvania, looks great. But with its stylized, often stilted dialogue and overly dramatic storytelling, it feels more like everyone is living in a quaint period painting rather than a world populated by real humans (and, well, vampires) made of flesh and, er, blood.

The chief weakness of “Freakier Friday” — which brings Curtis and Lohan back for an amiable, often joyful and certainly chaotic reunion — is that while it hews overly closely to the structure, storyline and even dialogue of the original, it tries too hard to up the ante.

While it’s a nice way to spend just short of two hours, it seems he could have sucked a little more out of those dusty old graves.

Guillermo del Toro’s Pinocchio is clearly not aimed solely at kids, but rather is banking on the fact that adults, too, will be drawn to the striking visuals and mature themes at play.

For all these characters, something about being subjugated by someone else provides a perverse sense of comfort.

Kudos to Hancock for making the film crackle along wittily, drawing in even those of us prone to shudder at movies with a fast-rising body count.