Odie Henderson

As with any documentary where the star tells the story, “Faye” occasionally comes off a little lighter than a more objective look might have been.

The marriage between its uplifting personal message and its embrace of big business is a rocky one, but Longoria and company hold the union together.

The more I consider it, the more I realize the best elements of this film make it worth seeing, if only marginally so. There is enough to, dare I say, marvel at while you are beaten senseless with plot.

CIVIL won’t change any minds about its subject, but it does a good job of delivering “fly on the wall” observations of the year it covers.

In Secret is a costume drama with a gigantic accent on the drama. It's my kind of crazy, and I was quite entertained. To borrow again from Shakespeare, "'Tis Madness, but there's method to't."

A talky movie like this one succeeds only if its leads have chemistry and understand their characters. Both actors fit the bill, giving committed performances that elevate the material.

Wolfs has enough action to keep us from contemplating how silly it is.

Director Andrew Ahn proficiently handles the numerous plot lines, character conflicts, and the tonal shifts between raunch and sweetness.

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

A charming, informative and funny documentary.

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.

There’s an optimism here that coexists with humor, joy, sadness, and more than one laugh-out-loud moment.

DaCosta, who helmed the much-maligned 2021 reboot of “Candyman,” keeps the plot moving so quickly that I had little time to question much of it.

It’s relentless in its depiction of the slapstick-infused shenanigans that will keep the little ones entranced in their seats.

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.

Ultimately, I respected the dramatic destination at which the film arrived, but I kept asking myself if the trip was really necessary. Sometimes you admire a movie more than you like it.

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

Knock at the Cabin unfolds like a good beach novel, one you can’t put down.

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.

Between the Temples emerges as a quirky and effective showcase for two actors known for playing oddball characters.

Gagarine plays like a mournful lament for a community that banded together during hard times before being separated and scattered to the winds, leaving no trace of its communal existence behind.

Ip Man 3 also sneaks in welcome moments of mushy romantic sweetness between Master Ip and his wife, Cheung Wing-sing (Lynn Hung).

The true measure of a good tale is in the telling, and writer-director Noah Buschel spins his yarn in an unexpected, ultimately satisfying fashion.

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.

Dìdi reminds us that our parents aren’t just our parents — they’re people who have their own hopes and dreams. It’s not just about us.

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

Olympic Pride, American Prejudice tackles its subject in a straightforward manner freed from dramatic license and the fear of box office failure.

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.