Odie Henderson

Marty, Life Is Short allows you to be a fly on the wall for all that relentless merriment while reminding you to enjoy your own life while you can.

[Harris’s] Southern Gothic story of domestic violence, and the repercussions of revenge, has the aura of Greek tragedy and the darkest heart of neo-noir. Its soul is an unapologetic howl of Black female rage represented by the superb lead performances of Kara Young and Mallori Johnson.

Not since Charlotte Wells’s 2022 film “Aftersun,” about a woman remembering a pivotal trip she took with her father as a child, have I seen this level of personal filmmaking presented in such superb and original fashion. “Blue Heron” is one of the best films of the year.

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.

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.

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.

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.

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.

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.

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.

The rage expressed onscreen is understandable, and even cathartic. We can live vicariously through the vengeance of others.

The flashbacks and overbearing music serve as this film’s emotional core, and the result rings false and superficial.

The Brits do this kind of light and dark juggling act better than almost anybody (see “Billy Elliot” or “The Full Monty”), and the filmmakers and their cast deliver a movie that’s perfect for viewing on a lazy Sunday afternoon at the movie theater.

The cast is uniformly good, and the stories are intriguing.

Bi Gan’s Resurrection is trippy cinema at its best, a nearly three-hour deep dive into experimental cinema.

The dudes all have blinders on in this movie. It appears that the only people to see things clearly are the women characters, which makes Miri’s final act the most shocking one of all.

All in all, “The Secret Agent” feels like a memory play filtered not only through its director’s reminiscences but through the cinema’s past as well.

Love it or hate it, “Hamnet” will get a response out of you that you won’t easily shake. I was equally moved and horrified, and I loved every minute of it. As Hamlet would say, the rest is silence.

I couldn’t help but see a parallel between the De’Snakes’s plight and numerous historical atrocities where minorities were slandered, brutalized, and robbed of their rightful property. That Disney somehow manages to deliver this message, Trojan-horse style and without heavy-handedness, in an entertaining feature for all ages, is the true success of “Zootopia 2.”

Wake Up Dead Man is one of the year’s best movies. I’ve enjoyed all three movies, but this one is the best of the “Knives Out” mysteries so far.

Rental Family is the kind of movie that should not work at all. It takes an unusual premise, one ripe for oversentimentality, and then strikes the perfect balance between heartwarming and heartbreaking.

Jay Kelly would make a good double feature with “Sentimental Value,” another film about a driven moviemaker seen from the perspective of the daughters, not the father. I think this film is the better of the two, even if it is more conventional in its storytelling.

We’re asked to believe in the healing power of art, and the performances sell the idea well enough for us to commit.

Rami Malek and Russell Crowe lead a cast of actors doing excellent work in this large scale, old school ensemble piece.

Most franchises use a cookie-cutter approach to their entries, so it’s refreshing when a sequel tells its story in a different tenor than its predecessors. On that note, “Predator: Badlands” is a rousing success.

This is a gorgeous movie to look at, to listen to, and to experience on an emotional level.

I found it too repetitious at times, and Hamid’s constant raving, though understandable, wore thin. Despite those flaws, this is still a good film — and an important one worth seeing.

Nouvelle Vague succeeds in giving you a feel for the films it’s documenting and paying homage to, without the pretentiousness and snobbery those films are accused of conveying. It’s a welcoming gateway drug for newcomers curious about its subject.

By giving his actors a three-dimensional world, del Toro sparks their imaginations — and ours. The result is a beautiful, bittersweet, and occasionally horrific look at what it means to be human.

This is a film about a professional divorce, not a romantic one. The fallout is just as painful.

Good Fortune showcases the virtues of the goofball side of Keanu Reeves. With all that great John Wick action, it’s easy to forget just how charming and lovable Reeves can be when playing an average joe or a misfit.

Dillane is onscreen for the entire film, and he gives a performance that will stick with you long after the symbolism-laced last scene.

Watching J.Lo make movie magic for the captive audience on both sides of the screen reminded me why I watch movies, and how revisiting my favorite films has kept me sane and happy in this bitter little world.

To say that Oscar winners Trent Reznor and Atticus Ross go hard on the music would be an understatement. There were times when their beats vibrated through my theater chair, goosing me into thinking “Tron: Ares” is better than it is. Their contribution propels the action and makes you believe in the visual bedlam unfolding before you.

McConaughey and Ferrera have chemistry and serve their roles well. The endangered children all start to blur together, though Nathan Gariety stands out as Toby, a scared 7-year-old who bonds with McKay. But you’re not watching “The Lost Bus” for deep characterizations. You’re watching it for the action. On that basis, Greengrass and company deliver the goods.

Living up to her surname, Blunt doesn’t just chew and swallow the scenery, she regurgitates it and chews it again. Along with the bad writing given to her character, she singlehandedly torpedoes “The Smashing Machine.”

Pain plus impatience does not make for a favorable review, even if the film marks the return of one of our greatest living actors.

This time, director Rob Reiner and his cast take aim at comeback concerts and the documentaries they often spawn. In other words, “Spinal Tap II” is both a satire and an example of what it’s satirizing.

The script, by JT Mollner, does an excellent job streamlining King’s book.

The romantic love triangle dramedy “Love, Brooklyn” is more than just a visual showcase for the favorite borough of the average New York City hipster. It’s also an unabashed devotional to the interior design of the Brooklyn brownstone.

This entertaining and informative documentary just might make you a fan as well.

Once again, Odenkirk is lots of fun as filmdom’s most unexpected purveyor of brute force.

This is one of the year’s best films. It’s also one of Lee’s finest joints.

My Mother’s Wedding neatly juxtaposes its subplots with the joyous event that serves as its centerpiece.

Directors Pierre Perifel and JP Sans keep the action moving while allowing the performers and the animators to shine.

Nothing will replace the original in your hearts and minds. But you’ll still have a good time here.

Familiar Touch accomplishes a lot in just around 90 minutes. By no means should you expect a wallow in misery. Like its protagonist, the film refuses to go gentle into that good night. Its defiance is tempered with dignity and grace.

Seeing Superman save, and work with, more than just white people is refreshing, but it really struck a nerve with fans who rely only on hearsay. Gunn doesn’t care if you’re offended; he’s too busy showing us a good time. “Superman” is a surprisingly entertaining reboot.

There are no grandiose moments here, only little ones that, cobbled together, create a moving and profound experience.

I would be much harder on this movie if I didn’t have such a good time watching it. Admittedly, it’s ridiculous, but I absorbed all of its haphazard chaos with a huge smile on my face.

While I enjoyed “Elio,” and I appreciated the animation and Rob Simonsen’s lovely orchestral score, I felt that this film was more tailor-made for adult sci-fi fans rather than their young kids. To be clear, I’m not saying you should leave your kids at home — there’s nothing objectionable here. I’m just saying they might be as bored as you usually are at some of these movies.

I’m on the fence here. I enjoyed the animated version of this movie quite a bit, so I’m torn between being happy this film was nowhere near as bad as I’d expected and being frustrated that I sat through a carbon copy. Your enjoyment will depend on whether your Toothless nostalgia has a full set of teeth.

As a big fan of the franchise, I admit I had a good amount of fun watching “Ballerina.”

Though Courtney and Harrison give their all, this is a slick-looking yet routine exercise that wastes an ideal premise.

It’s one of this year’s best movies. I don’t know how it will fare at the box office, but I can see it becoming a beloved favorite in the same way “The Shawshank Redemption” ultimately did. Like that classic, this one really makes you think about life and the things we take for granted.

While I was never bored, I felt somewhat disconnected from this movie. It’s not that I wasn’t engaged or involved — I enjoy when a movie makes me work for its pleasures — it just felt like I was missing so much and left me wishing I’d seen more of the director’s movies.

Once “M:I-TFR” kicks into action mode, the film becomes riveting as we await whatever crazy stunt Tom Cruise is going to spring on us.

By the end of “When Fall Is Coming,” we recognize the film for what it is: a character study elevated by Vincent’s superb performance.

I’m tired of this stereotypical depiction of autism. It’s as if Hollywood has to assign superpowers to people on the spectrum in order for them to be accepted by mainstream audiences.

Now in her seventh decade of starring in movies, Deneuve continues to glow onscreen. There’s such beautiful mischief in her eyes, and she’s at her most delectably dangerous when she’s not saying anything at all. These services are employed in a fun comedy that bends the truth until it nearly breaks.

This documentary has the feel of someone flipping channels nonchalantly, and everything they turn to is an interesting watch.

Though it doesn’t break any new ground, “The Wedding Banquet” does occasionally zig when you expect it to zag. These moments, along with the performances and the unobtrusive direction by Ahn, make this a successful and fun remake.

If “Sinners” commits one sin (forgive me), it’s a tendency to overexplain itself during the film’s climax. Still, Coogler and his excellent cast have created a sexy, funny, boisterous, and very bloody crowd pleaser, one that features a mid-credits sequence that adds another wrinkle to its intriguing mythology.

What makes “A Nice Indian Boy” shine are the performances and the sharp writing by Eric Randall.

This is a movie about a relationship that deserves to be nurtured and cherished. The most wonderful feature of “The Ballad of Wallis Island” is that it’s not the relationship you’re expecting.

Through Ferreira’s skillful navigation of her character’s growth, and Leguizamo’s preternatural ability to show kindness in earnest, the film worked its way around my defenses and hit me square in the tear ducts more than once.

As much fun as A Working Man can be, I kept thinking there’s a better movie peeking out through the cracks of this rather OK one.

This is one of the year’s best films, a heartbreaking stunner that’s not easily shaken.

Lund has crafted a good-natured hangout movie that tells the story of one final game at Soldiers Field, a New Hampshire-set diamond slated for demolition the following day.

This Looney Tunes mega-fan went in fearing the worst, and came out happy that I took that left turn at Albuquerque.

Soderbergh stages these games of one-upmanship as tight, dialogue-heavy scenes of discomfort and suspense.

I doubt anyone will be too bothered by the lack of character depth. The audience for “Last Breath” is there for the dangerous dive developments.

Putting the film’s thesis statement in the mouth of its maternal figure feels intentional; so does the laissez-faire tone. As a result, we laugh so that we may not cry.

Colman and Banderas have a great time hamming it up, and their fun is quite infectious. Walters is also at her spiky best. They help make this a worthwhile afternoon at the cinema.

Love Hurts is an absolute mess, but its hero almost saves the day.

Director Walter Salles returns to the political filmmaking he employed in the 2004 Che Guevara film, “The Motorcycle Diaries.” Like that film, this one follows a protagonist who becomes an activist after being jarred by political events.

This is a very patient movie, filled with equally patient performances, lyrical camerawork and some stunning images of its characters residing within the frame.

At almost two hours, “One of Them Days” does lag a bit. But even when it gets sluggish, there’s still a sisterly moment to enjoy or a laugh to be had.

Each one of these performers uses the same adjective to describe the songwriter: “relentless.” Many more interviewees will testify that Warren earned the bracelet she wears — the one that says “relentless as [BLEEP].”

The Brutalist reminded me of Paul Thomas Anderson’s “There Will Be Blood.” With both films, I found the first half spectacular, while the second half left me dissatisfied and scratching my head.

Throughout the film, we know as much as ABC does and nothing more. Filled with scenes of process, it’s as suspenseful as any thriller.

This dramatic two-hander partners one of the cinema’s greatest talkers with one of its best listeners, Julianne Moore.

Hard Truths is a definitive work in Leigh’s canon.

Perhaps by making the audience walk a mile in the shoes of Black characters, Ross is engendering some much-deserved empathy.

What makes “The Fire Inside” so powerful is the uncomfortable questions it poses: How responsible is a person for their family’s well-being?

I must give credit to Reijn’s screenplay for including scenes where Romy and Samuel work out the kinks in satisfying this particular kink.

The voiceover work is good and, as far as franchise entries go, it’s quite watchable.

Though I could easily predict what’s coming next in Carry-On, that didn’t stop me from having a good time. The twists were executed successfully, and I liked that the heroic characters did some unlikable things in order to save themselves.

Flow can be read as a climate-change parable, an empathic plea for understanding each other, or as a simple entertainment featuring cute animals and perilous situations.