Odie Henderson

Just as in the first film, I was put off by the white-savior narrative (Stilgar’s fervent belief quickly becomes grating), and the Hans Zimmer score that sounds as if Arrakis were in the Middle East rather than space.

Maggie” is Schwarzenegger’s “Cop Land,” that is, a feature designed to highlight and showcase that which an action movie hero could only hint at in glancing moments between explosions.

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

It’s been a long time since I’ve seen a movie so fully collapse in its third act as this one does, and it does so without warning.

This is a very good movie and perfect summer counterprogramming.

Known for her superb indie dramas “I Will Follow” and “Middle of Nowhere”, DuVernay has proven herself a master of small, intimate moments. Selma never loses focus on the interpersonal dynamics between King and his followers, his detractors and his family.

The masterful thing about Denzel Washington’s direction here is that he doesn’t exactly open up the play. Instead, he opens up the visual frame around the players.

Conclave is a massively entertaining slice of melodramatic excess, with actors who know they’re in a soap opera disguised as high drama. As a result, everyone plays their roles completely straight — and to great effect.

Priscilla gives us little idea of the inner workings of Priscilla Presley. She’s an enigma in what is supposed to be a story of her empowerment.

All In: The Fight For Democracy is a valuable public service wrapped in an educational, informative and engaging documentary.

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

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

What stands out in Still: A Michael J. Fox Movie is the candor and determination of its subject. Moments with his four adult children and wife are beautifully captured, and Fox pulls no punches in his responses to Guggenheim’s occasionally tough questions. The result is a worthwhile, inspirational, and very watchable documentary.

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.

Unless you’ve a vested interest in New York City or, like me, you were born and bred within its confines or in its neighboring shadows, The World Before Your Feet may seem like a hard pass for you. But this well-made and intriguing documentary isn’t about New York so much as it is about an unusual idea seen to fruition.

Each installment saw an increase in runtime, and “Chapter 4″ clocks in at a massive 169 minutes. Not one second of it is wasted; this is wall-to-wall carnage of the finest, most entertaining order.

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.

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

The look of the film is so spectacular that I almost want to recommend you see it solely for that reason. It wasn’t enough to save the film for me.

It’s a daring choice to force audiences to spend 2 hours with someone they won’t like, but “If I Had Legs, I’d Kick You” is more of an experiment than an empathy machine. It overstays its welcome by at least 30 minutes.

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.

I should have been more affected by Arthur the King because, after all, “Old Yeller” conditioned my generation to erupt in tears whenever a dog’s fate looks dire. And yet, all I saw were the familiar gears churning underneath.

Had it been 90 minutes, we might be talking about a classic here. If there’s anything that was in dire need of a shot of The Substance to bring out a leaner, tighter version of itself, it’s this film’s Cannes-award-winning screenplay.

When Dafoe is onscreen, his unpredictable energy drives a deserving stake into the film’s stodgy heart.

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

As usual, Gladstone is excellent, and she doesn’t mind ceding the spotlight to Deroy-Olson. The two craft a convincing family unit, one we don’t want to see broken. And though the film hits familiar plot beats, it loses none of its redemptive power.

If nothing else, see it for Danielle Deadwyler’s incredible performance. She truly is unforgettable.

It’s a puzzle with a few pieces missing; standing back from it, you can still see the picture. But does it give the viewer exactly what they want? See the title.