Respect is filled with memorable supporting turns, including Audra McDonald as Aretha’s mother and Saycon Sengbloh and Hailey Kilgore as her sisters, who were often in the background in more ways than one — but an old-fashioned show-business biopic such as this rises and falls on the talents of the lead, and it’s hard to imagine anyone in the world doing more justice to the legacy of Aretha Franklin than Jennifer Hudson.

This is a movie that introduces you to a bold and original concept and asks you to just go with it, and if you’re willing to take the leap of faith (in more ways than one), you’ll find this to be a unique and special fable.

Sparks and writer-director Leos Carax have teamed up to deliver a bold, original, avant-garde House of Broken Mirrors take on A Star Is Born that at times soars with creative energy and on other occasions is so consumed with being eccentric and garishly jarring, it’s as if the filmmakers have turned the Pretentious Meter to 11.

Through it all, the Latino-influenced ballads, dance numbers and hip-hop numbers infuse the story with great life, and how can anybody possibly resist Lin-Manuel Miranda as a kinkajou with a tiny hat?

This is more of a do-over — a mulligan — than a reboot, with writer-director James Gunn (Guardians of the Galaxy) delivering a darkly funny, blood-spattered, cheerfully gross, violent and bat-bleep crazy mashup of wisecracking humor, elaborate and CGI-infused action sequences and even a rom-com interlude that ends with one of the participants quite dead while the other expresses regrets but there was no other way, this being a Suicide Squad movie and all.

Stolakis skillfully interweaves present-day interviews with archival footage of these prominent figures in the movement — all of whom have renounced their roles and are now living as out gays or bisexuals.

Thorne’s performance as a college student and waitress with a hidden and perhaps nefarious agenda is the best thing in this howler of a wannabe psychological crime thriller, a nasty little film that requires every single one of the lead characters to behave in infuriatingly dopey fashion, just so the story can keep plodding along until we’re slapped with one of the most ridiculous and maddening twist endings in recent film history.

The thing about Ride the Eagle is we have a funny, sweet, insightful, low-key charmer of a story that’s all about making human connections, reconciling broken relationships and finding solace in the companionship of another fellow traveler on this planet — and yet the main characters are almost never in the same room with one another.

Director Jaume Collet-Serra (best known for the Liam Neeson actioners Unknown, Non-Stop and The Commuter) is far too enamored with the CGI possibilities of an epic fantasy adventure, while the team of writers sacrifice character development in favor of banter heavy on groan-inducing puns and recurring punchlines that actually don’t pack much of a punch.

Even when the story comes close to flying off the rails, Matt Damon holds steady and commands the screen.

The Green Knight contains some beautifully written passages, and cinematographer Andrew Droz Palermo delivers one award-worthy visual image after another.

The result is a comprehensive doc-biopic that works as an introduction to Del Close for those who might not know the name — but the comedy nerds who revere Close will certainly be geeking out over this deep dive into the man’s life and times.

It’s a great American story of a great American life, and “The Blues Chase the Blues Away” does that story justice.

Ultimately, though, Settlers is more about setting a mood and painting a picture of hopelessness than explaining what happened before the story, what’s happening beyond the borders of the compound and what lies ahead for Remmy. It feels incomplete.

Despite an intriguing premise, some Hitchcockian camerawork and a few effective shock scares, this is a thudding disappointment with surprisingly wooden performances from fine actors, and some of the most excruciatingly awful dialogue in any movie this year.

Director Garret Price was right. This is no period-piece dark comedy. On many levels, it’s a horror film.

My thoughts turn to the Giant CGI Anacondas in “Snake Eyes” and what their lives are like in between meals — and if that sounds ridiculous and outlandish and weird, welcome to this bombastic, slick, convoluted and unnecessary second-tier action franchise reboot.

Joe Bell never quite packs the dramatic punch the real-life story deserves.

Despite his health problems and a career that carried as many setbacks as triumphs, Kilmer comes across as a self-deprecating, thoughtful, likable and almost jovial figure with a wicked sense of humor and a deep appreciation of artists, writers, poets, actors, thinkers.

As the documentary makes clear, Bourdain, who battled heroin addiction in his younger days, was a thrill-seeker, an obsessive personality, who always seemed to be in search of the next amazing experience, the next high, the next unforgettable adventure.

It’s a rustic, poetic, occasionally funny, sometimes heartbreaking and wonderfully strange and memorable character study of a man who is in such tremendous pain he had to retreat from the world.

Throughout the game, during the action sequences and especially during the timeouts and strategy sessions, the “celebrity” fans are a huge distraction — and making things even more bizarre, their numbers include Pennywise the Clown from “It” and the murderous, rapist gang known as the Droogs from “A Clockwork Orange.” Who in the name of Bugs Bunny thought this was a good idea?

For all its sobering reporting and imagery, Fin also has moments of pure beauty, as when Roth literally swims among sharks, who greet him with mild curiosity and a benign approach. Despite the handful of stories every year about a shark attacking a human, we know the truth: We’re the predators, and they’re the prey.

Please leave all logic and reality at the door as you settle in for a violent slice of Netflix original movie entertainment featuring an outstanding cast of first-rate actors clearly having a great time shooting up the joint.

After a setup worthy of a John le Carre adaptation, the main storyline is an admittedly well-filmed and well-acted but disappointingly lightweight journey more akin to a lesser Bond movie (there’s more than one reference to “Moonraker” along the way), with a cartoonishly forgettable villain and far too much time devoted to domestic soap opera antics played for easy laughs and unconvincing sentimentality.

The One and Only Dick Gregory is a comprehensive biography of a mercurial, brilliant and wildly funny artist-activist.

The Tomorrow War is an earnest effort to bring something new to the time-travel action genre, but this movie is a 2021 vehicle made of parts from the 2010s and the 1990s and 1980s.

Thank the cinematic and music gods it was never destroyed or lost, as Summer of Soul is an absolute found treasure of golden onstage moments, interspersed with interviews from participants such as Gladys Knight as well as attendees and cultural commentators, along with celebrity artists such as Chris Rock and Lin-Manuel Miranda.