Odie Henderson

It does what all good documentaries do: it made me want to read up and be educated more on its subject. And what a great and inspiring subject Pauli Murray is.

Polite Society is a tale of smashing the patriarchy through martial arts and a bit of science fiction, featuring gorgeously shot scenes of action, comedy, and outright terror.

It’s commendable that the film is committed to the character-based world building evident in the first “Creed.” With this sequel, however, the Creed franchise seems destined to travel the same road the Rocky franchise did; the intensely personal and original vision of its creator is slowly being corrupted by the seductive demons of fan service.

The film makes its edgier, more uncomfortable arguments with conviction, forcing us to think about who the justice system trusts, and why.

When Ebo concentrates on the satirical aspects that mock the hypocrisy she’s exposing, “Honk for Jesus. Save Your Soul.” hilariously fires on all cylinders. It’s when the film tries to juggle the darker aspects that its seams start to show.

In the current economy, Monopoly makes a more appropriate board game upon which to base a horror movie, but for what it is, Ouija is better than expected.

This is one overstuffed horror movie recipe, with a dash of “The Exorcist” and a spritz of “Ghost” among its tasty ingredients.

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.

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.

As for the fights: There are plenty of well-choreographed battles in The Final Master. The award-winning choreography eschews wire work, keeping the action sequences squarely on the ground.

While I admit I would have preferred a documentary about the people who have passed this tradition down from generation to generation, director Ricky Staub’s fictional feature serves as a worthwhile introduction.

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.

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.

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.

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

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.

Snakehead entices you with a lurid premise, but the empathy that shines through the cracks of its tough exterior is the real surprise.

Though there’s nothing new or transformative here, The Courier stays afloat due to the acting by Buckley, Cumberbatch, and Ninidze.

King Richard is half sports movie, half biopic. As such, it hits the sweet spots and sour notes of both genres.

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

Aunt May is such a delectable force that the audience waits with baited breath to see if she’ll do what we’d expect from an auntie. And she always does; her consistency is the warmest form of comfort.

This Denzel Washington family affair (Washington and his daughter, Katia, produced it, his son directed it, and his other son plays the lead) is well worth watching. It captures the spirit of Wilson’s magnificent prose, moving the audience the way the author intended.

This is good, fun summer fare, shot in ominous shades of darkness by cinematographers Roman Osin and Tom Stern and fueled by an effective score by Bear McCreary that isn’t obtrusive. Ovredal knows how to stage atmospheric horror sequences, and the Norwegian even gives us a variation on a Viking funeral that serves as the film’s biggest emotional moment.

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.

This is a master class in quiet acting, one that’s hard to shake once the credits roll.

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.

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.

This documentary is as welcoming to intense fashionistas as it is to gauche fools like me.