Stephen Curry: Underrated is the lightest feel-good sports entertainment possible in that it does have plenty of wins and losses from Curry's college and pro days, with the momentum of an underdog’s drive.

A world in which the stunning nature docs of shows like “Planet Earth” and “Our Planet” exists is going to make projects like The Elephant Queen harder to stand out in comparison, but I highly recommend at least watching the final half-hour in theaters or on Apple TV. It’s some of the most powerful nature footage in years.

It's less concerned with covering the totality of his life than evoking his life force, which is good-humored, earthy and inspiring.

In its style, “Magpie” is a marital thriller with noir trappings galore, including an almost ridiculously convoluted (yet satisfying) conclusion. Still, it’s most effective as the study of an angry wife’s chaotic psychological state.

It’s a bit too long and a lot too silly, but most people won’t care. And in a year with almost no even-modestly-good holiday offerings (sorry to the two “Red One” fans), this might be the best Christmas movie of the year.

A furious and often terrifying documentary about the militarization of US police.

Director Wheatley has already shown his aptitude for sardonic horror-commentaries, and Sightseers is his best film to date. Sightseers is dark, gruesome, blithely amoral and thoroughly entertaining.

The intentionality and editorial eye that make the style of this film so compelling feels sorely lacking from the script, which is at once scattered and repetitive.

Silver’s latest film Uncertain Terms finds some substance within its ideology of evaporated ambitions, though there’s plenty of empty space in which the film is still able to limit itself.

The Harder They Fall is a bloody pleasure: a revenge Western packed with memorable characters played by memorable actors, each scene and moment staged for voluptuous beauty and kinetic power.

The movie never delivers on its considerable promise because it's always in such a hurry to get to the next action scene.

It is a well-intentioned film that buries its affectionate heart in disjointed, unnecessary, forced banter.

The Taiwanese horror movie The Sadness is both conceptually exhausting and viscerally upsetting—an ideal summer movie for the third year of the ongoing COVID-19 pandemic.

The web spun by The Origin of Evil arguably features one twist too many, but the viewer is in for more than a pound by the time it happens. Largely thanks to Calamy’s rock-solid performance.

As the saying goes, inside of me are two wolves: one wishes “Out Come the Wolves” dared to explore the wounded masculinity and murderous love triangle of its first half, while the other wonders if that’d be any better or more interesting than the bone-cracking, arrow-shooting carnage of its second.

It’s a movie that only begins as a commentary on doping in sports and becomes something greater about the dangers of being a whistleblower, especially when the whistle blows on Russia.

So often bogged down by pseudo-naturalistic long takes and generic cop/robber power dynamics that it makes one wonder what the point of watching such a film is.

Kourosh Ahari's The Night, about a couple confronting their personal demons in a haunted hotel, is a knockout debut feature—so assured that it stands on its own as a filmmaking achievement apart from its historical significance, which is considerable.

The Luckiest Man in America is good follow-up viewing for “Quiz Show,” a drama about the 1950s quiz show scandals that prompted congressional investigations and led to reforms in the television industry. It’s also an example of how to make a low-budget movie that immerses you in a long-gone world and the minds of people who lived in it, while maintaining a tight geographical focus on a small number of characters.

But there is much to like, and pay attention to in First Match. It’s a film of small moments.

It’s a film with a lot on its mind, a frenetic energy to make it to the end of the day, and a character we root for from start to finish.

While it’s a bit disheartening to see such a unique performer given such a traditional bio-doc, what comes through in “Life is Short” is the affection for its subject from pretty much everyone he’s ever worked with.

Good intentions do count even if the outcome is not perfect.

This sounds very dark. But I Used to Go Here, grounded by a beautiful performance from Gillian Jacobs, treats its subject light-heartedly, while still managing to be honest.

Fans of Herzog — and that really should be all of you — should seek it out.

A sharp, funny, and bizarrely responsible documentary about an amusement park in Vernon, New Jersey.

Misshapen parts and all, “Fortune Favors” fulfills its purpose as a joyfully eccentric tribute to personal authenticity.

As is often the case with Berg’s films, it’s technically accomplished, but it’s lacking the depth of a project that comes from a creative spark. Everything here feels routine—more like an inevitability than a work of art or even a piece of entertainment.