Odie Henderson

Once again, Streep is a fierce force of nature, slaying all with an icy stare and a cutting verbal wit.

With this entertaining, funny, and informative movie, McKenzie can add documentary filmmaker to his CV. I doubt it will convince anyone who has bought into the legends of cryptocurrency to change their outlook, but skeptics will definitely get a kick out of this three year journey, which started during the pandemic in 2020.

Along with an equally superb Scott Ellis Watson, who plays Davidson as a teenager, Aramayo is the best thing in this movie. Unfortunately, the rest of it is Biopic 101, which at times makes the story feel too simplistic and thin.

The back and forth between the two actors becomes fraught with confusing allusions and muddled metaphors before ceding control to some unsuccessful supernatural elements.

Director Antoine Fuqua traffics in fan service of the highest order and the lowest quality. This is nothing more than a 127-minute series of poorly executed recreations of milestones in Jackson’s life.

McKellen and Coel give a master class in line readings throughout “The Christophers.” It’s a real pleasure watching two seasoned actors bounce off each other in service to creating their characters. It’s even more delightful to see this in a film made for adults that has plenty to say about human nature, love, and the inspirations that fuel our lives.

As a documentary about Lorne Michaels, “Lorne” isn’t much; it’s more of a look at “Lorne Michaels,” the character his mysterious nature created.

Soft girl era is something the socialmedialites are desperately in search of, and so am I. “You, Me & Tuscany,” takes us there.

Exit 8 is based on a best-selling video game released in 2023. I have not played it, but if it’s anything like director Genki Kawamura’s adaptation, I’d say it’s enough to drive a person crazy.

Ahmed gives his all, but it’s not enough to elevate this version above near-miss status.

I save the zero star designation for movies that I think have no redeeming value whatsoever or are morally repugnant. “The Drama” meets both criteria.

As far as rehashed sequels go, “The Super Mario Galaxy Movie” could have been worse. That it’s slightly better holds out hope that the inevitable third film will be a major power up in quality.

I suppose that if you’re familiar with the designer and his history, you’ll find this movie entertaining. But there’s nothing here for newbies or those wanting to know more about its subject. I found little of use, so it was a long, dreary slog to get to the end credits.

Mike & Nick & Nick & Alice is full of crazy ideas, but its most daring leap occurs when Grabinski’s screenplay finds room for an investigation into the feelings of its characters. The film takes the time for everyone to get personal and emotional gripes off their chests, and does so in such earnest fashion that it balances out the absurdity.

This is a cautionary tale, but it’s also a celebration of a life filled with crazy stories and lots of love.

For all its bells and whistles, “Project Hail Mary” is also a lovely, bittersweet character study, a pas de deux between man and alien that elicits a surprising amount of emotions by the time the credits roll.

There isn’t a single original idea to be found here, nor a twist you can’t predict immediately. This film has what Siskel and Ebert used to call “the Idiot Plot.” That is, a plot that doesn’t contain a single credible moment, and would be over if everyone involved wasn’t an idiot.

Individual parts of “The Bride!” work, but as a whole, the critic in me found it confusing and irritating.

Unfortunately, I didn’t laugh very much, and the story didn’t work as well as the movies that inspired it.

It works well as a documentary, and I can’t deny that Presley gave 110 percent to his audience at every show. That in itself is impressive. (If you’re a fan, add an extra star to my rating.)

"Adorable" is not an adjective I’ve often applied to a movie, but “K-Pops!” earns it. It will play well on the big screen, and make you forget about your troubles for two hours.

It’s the kind of movie my 2½-star rating was invented for; that is, a movie that’s interesting enough to put me on the ropes for several rounds before dropping its hands and getting knocked out.

Hinds and Manville do a credible job of portraying a marriage that has run its course, and their best work occurs in the silences that pass between their characters, Gerry and Sheila.

How to Make a Killing should be a lot more fun than it is. The murders are poorly staged and unfunny, and Powell’s performance is so one-note and smug that you can’t root for him even if you think his killing spree is justified.

Pillion is the story of that one relationship that defines a person, the one that finally reveals to them what they want out of sex, love, and life. We can all relate to that.

When Fennell swaps in her adult actors, the cracks start showing immediately. While strikingly attractive on their own, Elordi and Robbie have zero romantic chemistry.

Unfortunately, director Aidan Zamiri and his co-writer Bertie Brandes are equally bad at mockumentaries and generating suspense.

Foster and the rest of the cast are so good, I almost want to recommend that you go just for their performances. After all, it’s the journey, not the destination, that counts. That is, unless you’re making a murder mystery.