Odie Henderson

Whether it’s in a nightgown or in the full, glorious regalia Aretha Franklin adorned in her concert appearances, Hudson performs with the same tireless intensity Re was known for throughout her career. It’s a damn good performance and this is a damn entertaining movie.

The main goal of Port Authority is the simple but unfortunately necessary message that “hey, trans people are people, too!” It’s too bad this film isn’t really about them.

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

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

Blue Beetle is a watchable time-waster made better by the actors and the cinematography by Pawel Pogorzelski.

The scariest thing about Scream VI isn’t seeing someone get knifed in the face 600 times; it’s this movie’s absurdly inaccurate depiction of New York City.

Kevin Hart: What Now? is Kevin Hart at the top of his game.

Despite the frenetic pace, “Saturday Night” falls flat and fails to raise one goose pimple.

Where Bad Hair is not so successful, however, is in reckoning with the hornet’s nest it kicks regarding its subject matter. At almost two hours, Simien has time to interrogate the natural vs. processed hair argument instead of only hinting at it occasionally.

Hollywood remains terrified that the hunky male product they’re selling to millions of swooning women might turn out to be gay, and “ruin the fantasy” these fans supposedly covet. One can only wonder if an openly LGBT actor can be as huge today as Tab Hunter was in his day. The verdict is still out on that.

I liked the “Freaky Friday” remake. It had some real emotional heft to it, much of it due to the excellent performances by Curtis and Lohan. This time, all the characters are one-note, especially the teenagers.

What saves “Anora,” and makes it worth seeing, is the performance by Madison.

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

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.

As far as spin-offs go, “Lightyear” is a lot of fun. The voice talent is topnotch, especially Palmer and Evans.

"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.

Because Disney wants your money, of course. I don’t begrudge their need for greed; I just wish they hadn’t given us yet another movie built on the pseudo-psychological cliché that adults need to reconnect with their childhoods in order to be better adults.

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.

It’s a worthwhile alternative to the comic-book movie opening this week, provided you’re open to a dark comedy that teeters precariously on the edge of the abyss.

There is not a single original idea in All Day and A Night. Not one solitary surprise is to be had here.

Perhaps Crowley was trying to deconstruct the clichés we’ve become accustomed to in romantic movies since the old studio system started churning them out. But even that explanation fails to hold water as “We Live in Time” repeatedly falls back on those dated, tired tropes.

The Best Man Holiday has the potential to become a staple of Christmastime movie watching in the 'hood.

Say what you want about his onscreen vices, but Branagh has always been a charitable director and it really shows here.

Champs is a documentary that wants to say something sociological about the sweet science of boxing. In this regard, it has an undeniable power.

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.

Ultimately, No Hard Feelings is the story of two people who are afraid of life for different reasons, and how they help each other lose that fear. I’ve heard complaints that it sacrifices filth for feelings. To those folks, I say — you can always watch “Porky’s” instead.

Springsteen: Deliver Me From Nowhere has enough good material to make you wish it were better. Unfortunately, it owes debts to the biopic genre that no honest film can pay.

What I saw was a racially suspect disaster and another exploitation of Black pain for cheap, lazy thrills. Good Madam is a bad movie.