Lisa Kennedy

Riveting ... Kennedy not only builds a case against Boeing but offers an object lesson in the tragic consequences of corporate greed and hubris.

More touching than riotous, Definition Please proves to be impressively nuanced once it begins revealing why Monica is so prickly around Sonny.

Denzel Washington directs this adaptation (the screenplay is by Virgil Williams) with care, respect and a deep-seated knowledge of the Black love stories that don’t make it to the big screen nearly enough.

This romp about three brothers trying to make their mother’s holiday wish a reality is festive and illuminating.

In widening its aperture — from the ascents to visits to Purja’s childhood home as well as brief dives into Nepal’s history — “14 Peaks” expands a genre often focused on the feats of individuals to celebrate lessons about vast dreams and communal bonds.

Likeable stars with little frisson, Elwes and Shields are also saddled with a formulaic script.

Without sacrificing comedic buoyancy, Malik and her ensemble make palpable a community that is vibrant and claustrophobic.

In 2017, JR was half of the delightful tag-team of “Faces Places,” the Oscar-nominated documentary he and the groundbreaking director Agnès Varda made in the French countryside. Paper & Glue, while not as tender a romp, is a sequel in spirit. Faces and their places continue to matter.

With a trove of archival performance footage, much of it from the television show TV Gospel Time, and the wisdom to let those images breathe, the film leans into the maxim about showing not telling.

While the young women harbor overlapping questions, Found makes it clear they also have yearnings unique to them.

Densely thoughtful, Prism has beautiful and poignant moments.

Britney vs Spears underscores how tricky it is to make a credible documentary about a celebrity under duress without repeating many of the gestures that treat fame as the sine qua non of American culture.

In a star’s turn, Skerritt reveals the tiniest fissures of vulnerability in his unfaltering portrayal of a cardiologist who is ailing and grieving — and fed up with both.

Although she died in 1985 at the age of 74, the human rights activist, lawyer, poet, professor and first Black woman to be ordained an Episcopal priest owns this journey.

Laurent has made an elegant if overheated melodrama that amplifies the villainy of Charcot and his colleagues (one proves particularly appalling) to underscore how male-centered the medical establishment was — and is.

The movie does a compelling job laying out how vulnerable this relationship was, given their faith, given Ali’s ascendency in the nation and the Nation.

The images here are often dizzying and dazzling.

Fauci is at its best when it draws parallels between the pandemics that define Dr. Fauci’s career. It vexes when it leans on straightforward biography

The ensuing violence and its aftermath are chilling, woeful and utterly consistent with the tragedy that began long before a fateful afternoon in the woods.

The melancholy result is that the painter with the spectacularly lulling voice, the hallmark ’fro and the liberating kindness remains a mystery; not the brand that’s made millions but the guy who touched millions.

To say that Resort to Love is slight would be akin to snatching a romance novel out of your closest friend’s hands while she sits reading and sipping a margarita on a beach. Why would you do that? It’s summer. Leave the girl her pleasures.

The Oakland students — and director Nicks — rise to the demands of overlapping crises. With its vibrant if abbreviated portraits and final scenes of burgeoning activism, Homeroom suggest that kids may not be alright, but they are very much on the case.

In the future, audiences may tire of movies about COVID-19. For the moment, however, 7 Days arrives as a funny, modest charmer.

The documentary makes a strong case for just how remarkable a team they are. While LFG doesn’t divulge the elusive recipe, it ladles what one teammate called the group’s “special sauce.”

[An] insightful, chilling, often elegant documentary.

In this triangulated love story there is more roiling it than just desire. Although the central characters reflect the vast array of LGBTQ folk, the movie isn’t a coming-out tale. . . . These characters are in the midst of their lives, with many of the duties and emotions that come with that.

Beyond Giraud’s calculations about wind and cliff-edge-to-floor ratios, his thoughts about fear reflect a generous nature and should speak to decidedly earthbound yet unnerved folks. He wants people to dream big.

We Broke Up stays together nicely thanks to Cash and Harper’s appealing tag-team, but also because of the winsome work of Bolger and Cavalero as the seemingly goofball, soon-to-be hitched duo.