Nell Minow

It’s too bad this is not on a big screen, because the settings are filled with enticing details that bolster some of the weakness of the screenplay. Even on the smaller screen, though, the fresh, female-led take on the traditional tale, including a bit of a sisterhood-is-powerful twist near the end, makes it worth a watch.

Compared to the original or to more recent films like “Boss Baby” and “The Bad Guys,” it is slapdash and lightweight.

Swank’s straightforward directness as an actor is just right for the plain-spoken, determined Sharon, who just might inspire some of us ordinary folks to try to be more.

The subject is one of the most innovative and influential composers of all time but the documentary that tells his story is very conventional, with chronological archival footage and talking head interviews given by the composer and his co-workers.

Nellie's world may feel scrambled, but McKendrick knows where she is going and how to take us with her.

Chen is influenced by the French New Wave, and there are echoes of "Bande à part" and “Jules and Jim.” But do not let the meandering series of scenes, underscoring the characters’ aimlessness, allow you to overlook Chen's precision in even the smallest detail.

It is an efficient thrill ride, running about 90 minutes, with every moment used as effectively as possible.

Director George Clooney understands the strength of this classic underdog story, and he knows how to tell it, with gorgeous visuals and heartfelt performances.

Foster is at his best in roles like this one, where his emotions are tightly coiled and always close to exploding, but the storyline does not give him much to work with and Wallace cannot make much out of a blandly-conceived role.

The show is smoothly staged before an appreciative audience, with well-chosen theatrical touches.

This is not the best of the family body switch movies, and for sure, it is not the last, but the irresistible concept and outstanding cast make it a worthwhile family watch.

What makes a space feel safe? The small miracle of the Estonian film “Smoke Sauna Sisterhood” is that it does more than show us a blissfully safe space; it invites us inside.

It is sweet without being sugary, colorful, and very charming, with terrific voice talent and a lot of music. It’s the best of the three.

Despite strong work from Ben Mendelsohn, Daisy Ridley, and Gil Birmingham, director Neil Burger's adaptation is a medium-level thriller.

As Sergio and Chucho share the names of the teachers who inspired them, we see Chucho begin to reconnect with what led him to become an educator. If we are lucky, we have at least one teacher in our past who showed us what we are capable of. If not, Sergio can help remind us that it is never too late.

The film is fun to watch and occasionally illuminating, but is over-packed and barely touches on the problems of scammers, the murky world of “influencers,” copycats who engage in dangerous or harmful behavior, or the infinite regression of people filming their reactions or their friends’ or children’s reactions to what they are watching.

She Came to Me is beautifully performed and directed with great charm, unexpected wisdom, and sweetness.

There are some nice lessons about confidence and teamwork, a more-funny-than-scary villain, and impressive guest stars voicing minor characters, including Kristen Bell, James Marsden, Lil Rel Howery, and Kim Kardashian (as a pampered poodle social media star) and her children.

The exceptionally talented Richardson does her best with a woefully underwritten character.

This film is in conversation with existential issues of meaning and with contemporary concerns about the failures of institutional authority, though is not always clear what he wants us to think about it.

There's a sweetness to this story that reflects Adam Sandler’s real-life love for his family.

As the conflicts move from the annoying to the existential, the one-room setting is appropriately depressing and claustrophobia-inducing.

Director Matthew López makes an impressive feature debut with Red, White & Royal Blue, a love story that skillfully blends the familiar beats of a classic movie romance with the distinctive details of two of the world’s most public young men trying to keep their relationship private.

Simon has an exceptional eye for the small details that illuminate the quiet but devastating, literal life and death moments.

The story's heart is Kemper’s Helen, of course, and this role is a perfect fit. Helen is less sunny than most of Kemper’s roles, allowing her to show more subtlety, depth, and complexity.

What elevates this film above the usual trip-gone-wrong storyline is its gentle exploration of what links the two women beyond their history.

Like a less-cluttered Wes Anderson film, Amanda has quirky, precocious young characters who deliver aphoristic pronouncements in monotone, deadpan voices amid beautifully composed settings.

One of the best family films of the year, Ruby Gillman, Teenage Kraken has humor and heart, buoyant energy, witty and imaginative visuals, and never-less-than brilliant voice talent.