Sorry/Not Sorry takes issue with both the supposition that nobody was really victimized by Louis C.K.’s actions and the mentality of first looking the other way amid what the comic initially dismissed as “rumors,” then welcoming him back.

Perhaps foremost, “Faye” allows its subject to be, or at least appear, as big, complicated and multifaceted as her life and career, in both the highs and lows, would suggest.

Less than weighty in the comedy part of its equation, the film largely works as a vehicle for Scarlett Johansson and Channing Tatum, even without completely sticking the landing.

West mixes some wit in with the gore here, even if the payoff, alas, doesn’t rise to the level of the buildup. By then, though, “MaXXXine” has delivered enough nostalgia regarding its genre to merit a walk down its alleys, and not incidentally, the showcase and sendoff that Goth’s character deserves.

The latest film begins from a slightly unexpected premise, but then efficiently spins it to yield additional horror while giving theater-goers every reason to keep their mouths shut.

Like his trademark bandanas, “Disciple” wears its soul, and its love for the music these artists created, brightly displayed where all the world can see it.

Whatever one’s age, there’s much to like in a movie that offers the requisite laughs and sweetness, while managing to feel quite profound.

Hit Man is as much a quirky romance as a thriller, juggling its mix of whimsy and suspense deftly enough, especially down the closing stretch.

“The Great Lillian Hall” operates as a love letter to the theater while catering to those who can appreciate an “All About Eve” reference or two.

A particularly rich Disney+ documentary that captures the man as well as the ideas that will ensure him a kind of immortality.

Young Woman and the Sea is an exercise in the simple power of a well-told story, the kind that can wash over and uplift you all at once.

Forty-five years after “Mad Max” introduced many to a young Aussie named Mel Gibson, Miller certainly hasn’t lost his touch as a visual stylist and mad maestro of elaborate action. In almost every other respect, this feels like one of those instances where there’s more sound than “Fury.”

Thin as biopics go, the power of Abela’s portrayal elevates the film, providing a poignance and strength that’s the clearest motivation to go, go, go.

Power makes an intellectual argument, but it’s built on a visceral foundation, purposefully bleeding from past generations into the current one.

This latest addition surpasses expectations, honoring the source while building a muscular and even thoughtful adventure around a very ape-centric concept.

In tennis, “love” means nothing. Love also has little to do with “Challengers,” which uses the sport as the backdrop to serve up an elaborate, non-linear psychological triangle that proves twisty and enticing for much of the match, before double faulting by whiffing on the ending.

A dual attempt to breathe life into the vampire and haunted-house genres, “Abigail” could have been called “Don’t Tell Mom the Kid I’m Babysitting’s Dead.” The simple premise, however, turns into an effective little horror movie, a bit strained toward the end, but until then a clever and inventive take on six people literally just trying to make it through the night.

The images of the US turned into a war-torn country provides a sobering dystopian backdrop for an action movie that works on that level, without lingering in the mind as long as it could or should have.

The film has an old-fashioned “B movie” vibe, which, for a project headed straight to Netflix, is almost exactly as it should be. As for the feminist message wrapped into the premise, it’s merely further evidence that Brown, at the ripe old age of 20, looks like a boss both on screen and off.

Slick and briskly paced, the film incorporates its origins while conjuring enough laughs and fun to effectively deliver for parents and their cubs.

Still visually dazzling and overwhelming in its scale, Dune: Part Two becomes enmeshed in the political denseness of author Frank Herbert’s world, unevenly marching through this part of the story before rather abruptly coming to an end.

Nobody should expect too much of a movie in this genre released on Valentine’s Day, and grading on that curve, Players happily punches above its weight class and exceeds expectations.

From the title to the execution, this National Geographic presentation has the right stuff.

In her director’s note, Chinn explains that while considerable liberties were taken with the details of her experience, “The emotions are real.” However dark the premise might be, that part of Suncoast shines through as bright as day.

Even if the movie’s head is occasionally in the clouds, “Orion’s” heart is very much in the right place.

Cast to the hilt, the film proves inventively twisty if a little convoluted, with the modest disclaimer that it’s not as good as the trailer makes it look.

Lionel Richie serves as the de facto tour guide for this trip down memory lane, which fulfills its promise to make a better day (or at least 90-some-odd minutes) for you and me.

Mean Girls might recycle old tropes about high school’s caste system, but for those who just want a boisterous couple of hours in a theater, it aces that test.