Creed III has the fights, it has a story, and it has a heart. For Jordan, it’s a feature directing debut with punch.

A circus of violence, it’s a noisy, non-stop combination of dance and Loony Tunes-worthy manic cartoonishness.

It’s ambitious, but not as much fun as it wants to be.

This fictional recreation is wonderfully claustrophobic, but the storytelling does not include enough character development to leave a viewer fully invested.

There may be a lot of questions unanswered in Possessor, but there’s feverish imagination at work.

For a biopic about Maria Callas, one of opera’s most vivacious personalities, director Pablo Larraín’s visually sumptuous Maria is unusually downbeat.

The movie, with its misfit ensemble of kids, is an ‘80s throwback and a fitfully clever update on the King Arthur story.

With its first half a kind of post-mortem of this so-called accidental masterpiece and the second devoted to its cultural influence on everyone from drag queens to film scholars, You Don’t Nomi — its title a snappy riff on lead character Elizabeth Berkley’s name — is impressive for its breadth and depth.

It’s not reluctance that prevents Leiser from divulging the driving force of the film’s narrative but rather a self-assured and less defensive “take-it-or-leave-it” attitude. The “opera” aspect of the film will be highlighted in the review and press material, but for Leiser, Freydís and Gudrid, it is simply a good story told through music.

Once you get past the clinical mis-en-scène and the voyeuristic surprise, the story is the usual A Star Is Born showbiz rollercoaster of big dreams, success, and disillusionment.

There are some strong elements here.

The main takeaway here is that online abuse is not simply the ravings of twisted individuals, but often part of systematic campaigns of terror, designed to frighten and silence women in positions of influence and power.

Uncle Drew is a goodhearted broad comedy, one where you don’t have to know the players (under all that latex) to enjoy the game.

A kind of gothic, ghostly mash-up of Downton Abbey and Grey Gardens, The Little Stranger is as mannered, tattered and morose as that marriage of premises suggests.

A dynamite ensemble cast and a truckload of heart keep the sentimental new comedy POMS from crumbling beneath multiple well-thumbed clichés including (but not limited to) plucky underdogs can triumph, friends are really important and life is short so live it fully.

There is an emotional core to Priscilla, and in Coppola’s gentle way, we’re shown a portrait of an unusual relationship, and come away with a less flattering picture of Elvis, more of the fallible human, as opposed to the music icon, frozen in time.

What’s mildly interesting about The Beach House, the low-budget debut feature from Jeffrey A Brown is that, while human beings have their struggles and conflicts, the universe doesn’t much care.

Roh is a simple story, fueled entirely by atmosphere.

The film’s star Amy Adams balances relatable comedy with dramatic empathy. In practice though, Nightbitch fails to converge their talents, resulting in a film of interesting moments that drifts to a tepid conclusion.

For anyone who has endured a long bus journey with strangers, it will be no surprise that there was more conflict among the Americans than between them and the Egyptians

None of this adds up to a deep or compelling examination of the papacy. Think of it more like a wave from the motorcade on the way by.

Butcher’s Crossing is a decent western, with decent performances. It’s a film that delivers what’s expected. But for a story that could give Captain Ahab a run for his money, getting the expected is a bit disappointing.

It’s a lesser episode to be sure. But Wilson and Farmiga are both so accomplished and comfortable in their roles at this point, that they distract us from the movie’s flaws.

Kinds of Kindness is certainly a display of disparate kinds of weirdness. But unlike Poor Things, which was both provocative and told with absurd clarity, this anthology is a mixed bag of wannabe profundities.

Despite what redemption there ultimately is, The Whale is a feel-bad movie. But in a movie marketplace saturated with homogeneity, at least it inspires you to feel something.

There’s a lot to accept in this film that quite frankly, is a bit hard to swallow.

You couldn’t call Coming 2 America a good movie or even a so-bad-its-good, but just puffed-up mediocre concoction with a few pockets of delight.

Let it be known that The Way Back – in which Ben Affleck plays a drunk who once walked away from basketball glory and is offered a chance at redemption when his old coach has a heart attack – is possibly the most melancholy sports movie ever made.