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.”